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Female homosociality in L. T. Meade’s schoolgirl novels

4 Girls with ‘go’: female homosociality in L. T. Meade’s schoolgirl novels Whitney Standlee T he juvenile fiction written by the Irish novelist L. T. Meade (Elizabeth Thomasina Meade Toulmin Smith, 1844–1914) was extensive and diverse in both substance and reach. Sales records for her novels, a number of which continued to be reissued decades after their initial publication and which sold in the tens of thousands, confirm that her work appealed across temporal, geographical, religious, and even gendered boundaries.1 Evidence of her widespread popularity

in Irish women’s writing, 1878–1922
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Advice, etiquette and expectation

3 No nice girl swears: advice, etiquette and expectation T o analyse the thrill of voyaging for anyone who has never been away is [a] tough  .  .  .  assignment,’ wrote William M. Strong in his 1938 advice book for budget travellers and journeyers.1 Strong emphasized the journey’s transformative effect: ‘No one can have one of life’s big experiences without being to some degree altered by it. The change that is visible in some people after their first trip abroad is little less than startling.’2 In her 1937 etiquette guide Can I Help You?, Viola Tree

in Women, travel and identity

Chapter 2 Bachelor girls, mistresses and the New Woman heroine This chapter examines radical representations of work, celibacy, adoption and ‘female urbanism’ in fin-de-siècle short stories and novels. Middle-class women’s unprecedented entry into the labour market meant changes in accommodation: working women now lived alone, rented rooms with friends or siblings or occupied the new ladies’ lodging houses in London.1 The 1890s saw the birth of the ‘bachelor girl’, a new label given to young independent female workers, particularly those employed in the new shops

in Odd women?

ascribed. Or to use a phrase from Ruth Bottigheimer: ‘whose voice do we actually hear?’ 1 In as far as stories were not directly copied from the literature, were they primarily invented by girls such as Marie Hassenpflug and Amalie Henschel? Or were they just passing on what they had heard and, as Maria Tatar formulated it, do their stories ‘not by any stretch of the imagination come close to capturing

in Tales of magic, tales in print

 116 7 WHITE VULNERABILITY AND THE POLITICS OF REPRODUCTION IN TOP OF THE LAKE: CHINA GIRL Jo ha n na G ond ouin, Suruc hi Thapar- ​Björ k ert a nd I ngr id  Ry berg T  op of The Lake: China Girl (Australia, Jane Campion, 2017) is the sequel to Jane Campion and Gerard Lee’s crime series Top of the Lake from 2013, directed by Campion and Ariel Kleiman. After four years of absence, Inspector Robin Griffin (Elisabeth Moss) returns to the Sydney Police Force and comes to lead the murder case of an unidentified young Asian woman, found in a suitcase at Bondi Beach

in The power of vulnerability

Soundscapes of the city 6 •• Soundscapes of the city in Margaret Harkness, A City Girl (1887), Henry James, The Princess Casamassima (1885–86), and Katharine Buildings, Whitechapel Ruth Livesey This morning I walked along Billingsgate from Fresh Wharf to the London Docks. Crowded with loungers smoking bad tobacco, and coarse careless talk with clash of halfpenny on the pavement now and again … The lowest form of leisure – senseless curiosity about street rows, idle gazing at the street sellers, low jokes. (Beatrice Potter Webb, Diary, 6 May 1887 [Webb, 1992

in Margaret Harkness
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be surprised to learn that they were all written by university lecturers in English, but I won’t name the three authors, so that you can, if you wish, explore your own assumptions about the gender of the authors as you read the chapter. However, if you would rather know the gender of the author before reading each poem, the titles of all three can be found in the ‘List of poems discussed’ at the end of the book. Here is the first: The Peepshow Girl Amongst the long grass Of down-town Berlin Manet settles Behind shutter five And begins to sketch. Barry.indb 146 9

in Reading poetry

for its excellence except ‘as a pleasant excursion. . . to the faraway world of her childhood with Jane Austen as her travelling companion’ (Lansbury: 182). Although Lerner notices that the title ‘announce[s] a theme’ (16), he does not discuss it, while Collins bluntly calls the title ‘an irrelevance’ (Collins: 60). Only Coral Lansbury and Patricia Spacks see that the structure of families and the socialisation of girls is the central, and important, subjectmatter of Wives and Daughters. In 1862 Turgenev published Fathers and Sons, which became known to English

in Elizabeth Gaskell

the 1990 Pandora Press edition described Oranges as the ‘touching and humorous account of an unusual childhood with an extraordinary mother’. The unusual child is a little girl chap 1.qxd 2/2/06 18 1:57 pm Page 18 Jeanette Winterson teasingly called Jeanette who, like Jeanette Winterson, lives in a working-class town in Lancashire with her adoptive parents, Jack and Louie. Like Winterson’s own mother, the fictional Jeanette’s foster mother is a militant member of the Pentecostal Evangelical Church and has taken great pains to educate her daughter in her faith

in Jeanette Winterson
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Marie Helena Loughlin

(Beaven ctd in Bathurst 16); excused them as reflecting the passionate language of ‘a romantic young lady to a girl friend’ (Bathurst 13); psychologized them as expressions of ‘adolescent romanticism and subconscious sexuality’ (Gregg 21), or as the sublimation of Mary’s desire for maternal love (Gordon and Lawton 80); dismissed them as expressing a ‘mock affection’ for Frances that Mary later translated into ‘real devotion’ to William (Speck, DNB); or scorned them as ‘nonsense’ (Green 33). Only rarely have these letters received any serious treatment: Gregg suggests

in Same-Sex Desire in Early Modern England, 1550–1735