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Alannah Tomkins

, except where harsh words were used to the poor and union officials were entitled to take an interest (and were possibly keen to exercise the right to reproach). Multiple poignant narratives confirm that the suppression of agitation and distress was widespread and could pave the way to crisis and tragedy. The melodrama of William Marsden’s suicide, played out in front of his wife and children in the street outside his home, was perhaps excessive, but the same despair characterises many men’s attempts to balance professional probity and private respectability. The

in Medical misadventure in an age of professionalisation, 1780–1890
Deaf people as objects of research, reform, and eugenics, 1900–1940
Marion Andrea Schmidt

University of New York Press, 1989), p. 27. For the rhetoric of disability and charity in particular see S. C. Moeschen, ‘Suffering silences, woeful afflictions: physical disability, melodrama, and the American Charity movement’, Comparative Drama , 40:4 (2011), 433–54. 45 Clarke School, A Child at the Clarke School , pp. 3, 5, 8, 18. 25. For the widespread portrayal of deafness as isolation and exclusion see D. C. Baynton, ‘“A silent exile on this earth”: the metaphorical construction of deafness in the 19th century’, American Quarterly , 44 (1992), 216

in Eradicating deafness?
Christine E. Hallett

months there, working as a volunteer nurse. War Nurse must be seen as having dual authorship. The publicity material produced by the publisher, the Cosmopolitan Book Corporation of New York, states that: ‘Corinne Andrews’ is not the real name of the woman whose war story is told here. But the story, transcribed from her diary, is authentic. The sheltered daughter of a staid New York family became a war nurse. In a new world that seemed to be built on contrasts and paradoxes, melodrama, irony and illicit romance became the stuff of matter-of-fact daily life, and with

in Nurse Writers of the Great War
Open Access (free)
Christine E. Hallett

’s narrative passages are full of melodrama and romance. Over the whole is placed the subtitle: A Novel by Irene Rathbone. Rathbone depicts the trained, professional nurses of the First London General Hospital as stereotypes of unfeeling, middle-aged spinsters.73 The discipline they mete out to VADs, orderlies, and patients is often harsh and invariably meaningless. In their working lives, they exhibit a marked lack of creativity and imagination; and they appear to have no personal or social lives at all. Indeed, they live their lives in ‘bunks’:  small, narrow rooms beside

in Nurse Writers of the Great War
Emergency nursing in the Indian Mutiny
Sam Goodman

, epic, drama, comedy and tragedy; indeed, in Angels of Albion, Jane Robinson describes the Mutiny as ‘the ultimate Victorian melodrama’.24 However, through the intimation that they are written in private, diaries ‘affect to escape pre-existing categories’ and suggest an ability to tell the truth of existence.25 Consequently, the diary exists in a state of generic and narrative haze or contradiction, supposedly truthful, yet composed in the same terms and by the same means as fiction. What these diaries purport to give us is an ordinary view of extraordinary events

in Colonial caring