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This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.

Victorian Murderesses investigates the politics of female violence in Thomas Hardy’s Tess of the D’Urbervilles (1891), George Eliot’s Adam Bede (1859), Mary Braddon’s Lady Audley’s Secret (1862), and Florence Marryat’s The Blood of the Vampire (1897). The controversial figure of the murderess in these four novels challenges the assumption that women are essentially nurturing and passive and that violence and aggression are exclusively male traits. By focusing on the representations of murder committed by women, this book demonstrates how legal and even medical discourses endorsed Victorian domestic ideology, as female criminals were often locked up in asylums and publicly executed without substantial evidence. While paying close attention to the social, economic, judicial, and political dynamics of Victorian England, this interdisciplinary study also tackles the question of female agency, as the novels simultaneously portray women as perpetrators of murder and excuse their socially unacceptable traits of anger and violence by invoking heredity and madness. Although the four novels tend to undercut female power and attribute violence to adulterous women, they are revolutionary enough to deploy female characters who rebel against male sovereignty and their domestic roles by stabbing their rapists and even killing their newborns. Victorian studies on gender and violence focus primarily on female victims of sexual harassment, and real and fictional male killers like Dracula and Jack the Ripper. Victorian Murderesses contributes to the field by investigating how literary representations of female violence counter the idealisation of women as angelic housewives.