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Novelistic expression of radicalism in the works of Godwin, Holcroft and Bage
Marion Leclair

the mass-produced sentimental novels and gothic romances published by the Minerva Press and disseminated through the country to a rapidly growing readership by the circulating libraries. In such conditions, with novels being an eminently marketable ware, it is no wonder that their style declined, as Godwin explains in a manuscript essay on ‘History and Romance’ which was published only after his death: Novels, as an object of trade among booksellers, are of a peculiar cast. There are few by which immense sums of money can be expected to be gained. There is scarcely

in Radical voices, radical ways
Jeffrey Richards

the nineteenth century and from the 1840s onwards May Day festivities were consciously revived in various parts of the country. 47 For all its antiquarian and historical detail, The Lancashire Witches was first and foremost a Gothic Romance. Ainsworth, a Tory, an Anglican and an arch-Romantic, had consciously sought to revive the Gothic novel. He admitted in a preface to Rookwood : Romance, if I am not mistaken, is destined shortly to undergo an important change. Modified by the German and French writers – by

in The Lancashire witches
Abstract only
Laurent Curelly and Nigel Smith

novels. They found fault with contemporary novels glossing over truth and using ornament as a truth-distorting device, this being associated with Burke and conservative politics. In return, they had an embryonic stylistic programme for their novels which rejected the conventional style of such highly popular and marketable publications as sentimental novels and gothic romances. Marion Leclair then examines the three novelists’ treatment of plot and shows them to challenge the conventional types of plot – romantic, picaresque and gothic – which they levelled from a

in Radical voices, radical ways
Heather Walton

has not always been a friendly word for women. In previous generations women’s significant creative work has not been included within the established literary canons (for a discussion of the dynamics of exclusion see, for example, Spender, 1986). The genres in which many women have chosen to write (e.g. gothic, romance and detective fiction) have always been viewed as of lesser significance – hardly literature at all. When women employ the word ‘literature’ it carries with it the history of all these exclusions. 14 The dream of harmony In a work of this kind it is

in Literature, theology and feminism