"A bold feat of imagination . . . . Intriguing and moving: a fictional recovery of the woman's interior experience . . . and a powerful meditation upon the nature of creativity. Both an arresting interpretation of George Eliot's work and a compelling fiction in its own right." —Rebecca Mead, author of My Life in Middlemarch In an astonishing unsent love letter, a 19th-century Englishwoman looks back at her formative years, when she fell in love with one man but married another—the richest bidder—to save her family Gwendolen Harleth, an exceptionally beautiful upper-class Englishwoman, is gambling boldly at a resort when she catches the eye of a handsome, pensive gentleman. His gaze unnerves her, and she loses her winnings. The next day, she learns that her widowed mother and younger sisters, for whom she is financially responsible, have lost their family's fortune. As a young woman in the 1860s with only her looks to serve her, Gwendolen's options are few, so when Henleigh Grandcourt, a wealthy aristocrat, proposes to her, she accepts, despite her discovery of an alarming secret about his past. During their marriage, Grandcourt is psychologically and physically brutal to her, shattering her confidence. Gwendolen begins to encounter the alluring gentleman from the resort—Daniel Deronda—in her social circles, but Grandcourt, cold and calculating, takes pains to isolate her from everything she loves. Gwendolen's desperation nearly overcomes her, until an unexpected turn of events suddenly liberates her from Grandcourt's tyranny and leaves her financially independent. Newly free, but riddled with insecurity and desire, Gwendolen must take painful steps to shape a life that has not gone according to plan. Gwendolen and her world, originally creations of George Eliot, are inhabited and brought to sympathetic and nuanced life in this irresistible debut novel by Diana Souhami, an award-winning British biographer.

A tale of lost innocence and betrayal of trust.

"Contentious behavior among biological sisters frequently contradicts ideals of sisterhood in novels by women. Additionally, feminist criticism, focusing on almost every imaginable relationship involving women, has all but ignored sisters. Amy K. Levin's The Suppressed Sister studies these circumstances, their causes and consequences. How and why is the sister bond suppressed in favor of sisterhood?" "Answers to this question may be found in female psychology, social expectations, and patriarchal myths and stories. The tales of Cinderella and Psyche are paradigmatic, providing models of female competition and inscribing a conclusion that replaces sisterly closeness with heterosexual romance." "Jane Austen's sister plot is based on these models. Her characters divide into pairs and adopt complementary personalities, but polarization does not erase competition; instead, marriage erects social and economic barriers which enforce role divisions." "In Wives and Daughters, Cranford, and The Life of Charlotte Bronte, Elizabeth Gaskell shows the danger of too close an attachment to the paternal home. She, too, emphasizes differences, revealing how they ultimately lead siblings to seek a sisterhood outside the family." "In Mill on the Floss, Middlemarch, and Daniel Deronda, George Eliot paints increasingly negative portraits of sisters, indicating that female siblings create differences where few or none exist. These denials of similarity heighten the heroines' isolation." "Twentieth-century novelists, including Barbara Pym, Elizabeth Jane Howard, and Margaret Drabble, revise their predecessors' texts, drafting a plot "after" the father's. They reject rules governing female behavior and question the expectation that women must get along with one another." "Finally, Emma Tennant's Bad Sister, together with several recent American novels, abandons the conventions of the realistic novel, challenging the very concept of character. Tennant undermines all distinctions, including those that treat sisters as separate individuals and those that classify certain behaviors as "good" or "bad."" "These novels show a progression that has been ignored or suppressed by feminist critics, many of whom long for an idyll of sisterhood inherited from nineteenth-century portraits of the "angel in the house." In denying anger or antagonism, women cut off a part of themselves, just as Cinderella's stepsisters amputate their toes to fit in her brittle glass slipper. Levin's book questions the rationale behind such self-destruction."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

A provocative interdisciplinary study of the Victorian novel and Pre-Raphaelite art, this book offers a new understanding of Victorian novels through Pre-Raphaelite paintings. Concentrating on Elizabeth Gaskell, Wilkie Collins, George Eliot, and Thomas Hardy and aligning each novelist with specific painters, this work interprets narrative redrawings of Pre-Raphaelite paintings within a range of cultural contexts as well as alongside recent theoretical work on gender. Letters, reviews, and journals convincingly reinforce the contentions about the novels and their connection with paintings. Featuring color reproductions of Pre-Raphaelite paintings, this book reveals the great achievement of Pre-Raphaelite art and its impact on the Victorian novel. Arguing for the direct relationship between Pre-Raphaelite painting and the Victorian novel, this book fills a gap in the currently available literature devoted to the Victorian novel, the Pre-Raphaelites, and the connection of Pre-Raphaelite art to Victorian poetry. Visual readings of the Victorian novel channel the twenty-first-century readers' desire for the visual into the exploration of Pre-Raphaelite art in the Victorian novel, in the process offering fresh insights into the representation of gender in Victorian culture. Through a textual and a visual journey, this work reveals a new approach to the Victorian novel and Pre-Raphaelite art with profound implications for the study of both.

A multi-volume series that surveys European drama from ancient Greece to the mid-twentieth century.

First published in 1996. Written by distinguished artists and scholars with psychoanalytic training, this seminal collection of essays spans the humanities-painting, sculpture, literature, history, anthropology, and philosophy-illustrating how psychoanalytic thinking can power­fully enhance these disciplines. The essayists address a question first posed by Freud in his 1919 article, Should Psychoanalysis Be Taught at the University? With a resounding Yes, they underline the intellectual enrichment to be gained from the application of the psychoanalytic method to humanistic disciplines and, conversely, the need for contemporary psy­choanalysts to acquire the kind of historical and classical education taken for granted by their counterparts earlier in this century.

Situating these representations within the context of Victorian visual culture and offering new readings of key works by Charles Dickens, Elizabeth Gaskell, Ellen Wood, George Eliot, Oscar Wilde, and Arthur Conan Doyle, Jaffe shows how mid-Victorian spectacles of social difference constructed the middle-class self and how late-Victorian narratives of feeling paved the way for the sympathetic affinities of contemporary identity politics."--BOOK JACKET.