Dream Revisionaries examines the literary, social, and historical catalysts for this sudden efflorescence of women's utopian writing. It delineates the historical contours of mainstream utopian fiction, examines the place of women in canonical texts, and demonstrates how the utopian responses of women in the 17th, 18th, and early 19th centuries paved the way for the late-19th-century texts discussed in this study. Lewes observes how women's utopian fiction facilitated the creation of political and social manifestos that responded to the late-19th-century historical environment and how nationality sometimes complicated and even overrode the authors' apparent commonalities. This volume demonstrates how the genre was used to reconcile historically opposed feminist ideologies and compares texts of the 1870s and 1970s, showing that the supposedly "new" type of women's utopian writing in many ways resembled that of a century earlier.

"A modern-day classic."—Ron Charles, Washington Post “A spectacular invention.”—The New York Times "Compulsively readable."—NPR Things do not bode well for Father Julius. . . A street preacher decked out in denim robes and running shoes, Julius is a source of inspiration for a community that knows nothing of his scandalous origins. But when a nearby mental hospital releases its patients to run amok in his neighborhood, his trusted if bedraggled flock turns expectantly to Julius to find out what’s going on. Amid the descending chaos, Julius encounters a hospital escapee who babbles prophecies of doom, and the growing palpable sense of impending danger intensifies . . . as does the feeling that everyone may be relying on a street preacher just a little too much. Still, Julius decides he must confront the forces that threaten his congregation—including the peculiar followers of a religious cult, the mysterious men and women dressed all in red seen fleetingly amid the bedlam, and an enigmatic smoking figure who seems to know what’s going to happen just before it does. The Revisionaries is a wildly imaginative, masterfully rendered, and suspenseful tale that conjures the bold outlandish stylishness of Thomas Pynchon, Margaret Atwood, and Alan Moore—while being unlike anything that’s come before.

Percy Bysshe Shelley's utopian vision was largely a product of the tumultuous final quarter of the eighteenth century, when the American, French, and industrial revolutions profoundly changed the way in which social, political, and economic relationships were viewed. In A Brighter Morn, noted Shelley scholars identify the qualities of this unique brand of utopianism, which was a complex and frequently conflicted blend of the personal, poetical, and political realms. This collection of essays sorts through these perplexities and discords, exploring Shelleyan utopianism in a variety of contexts-- place and placelessness, time and timelessness, publicity and privacy, and physicality and spirituality-- and concluding with a snapshot of the Western psyche at a crucial point in its development.

A work of art written about an artist creating a work of art is, in a sense, a novel in which the author is a character. The essays in this collection examine nineteenth-century texts that attempted to merge fiction and reality into a unified whole.

This book, first published in 2000, uses interpretations of the French Revolution as a model to ask what history meant to Victorian Britain, how events became enshrined with the authority of history, and how such cultural assumptions might help us to read nineteenth-century British literature. By examining reactions to French revolution in a broad selection of texts, this book explores how the Victorians responded to developments in France in historical terms, repeatedly comparing new events to the touchstone of the first French Revolution, yet always with the goal of finding ways to understand Britain’s own past, present and future.

Many feminists love a utopia—the idea of restarting humanity from scratch or transforming human nature in order to achieve a prescribed future based on feminist visions. Some scholars argue that feminist utopian fiction can be used as a template for creating such a future. However, Sally L. Kitch argues that associating feminist thought with utopianism is a mistake. Drawing on the history of utopian thought, as well as on her own research on utopian communities, Kitch defines utopian thinking, explores the pitfalls of pursuing social change based on utopian ideas, and argues for a "higher ground" —a contrasting approach she calls realism. Replacing utopianism with realism helps to eliminate self-defeating notions in feminist theory, such as false generalization, idealization, and unnecessary dichotomies. Realistic thought, however, allows feminist theory to respond to changing circumstances, acknowledge sameness as well as difference, value the past and the present, and respect ideological give-and-take. An important critique of feminist thought, Kitch concludes with a clear, exciting vision for a feminist future without utopia.

If women’s interest and participation in the advancement of science has a long history, the academic study of their contributions is a far more recent phenomenon, to be placed in the wake of “second wave” feminism in the 1970s and the advent of women’s studies which have, since then, given impetus to research on female figures in specific fields or, more generally speaking, on women’s battles to gain access to knowledge, education and recognition in the scientific world. These studies—while providing a useful insight into the contributions of a few more or less well-known figures—have mostly focused, however, on the obstacles that women have had to overcome in the field of education and employment or in their quest for acknowledgement by their male peers. The aim of this volume is to try and approach the issue from a different and more comprehensive point of view, taking into account not only the position of women in science, but also the link between women and science through the analysis of various kinds of discourse and representation such as the press, poetry, fiction, biographies and autobiographies or professional journals—including that of women themselves. The questions of the presentation or re(-)presentation of science by women are thus at the core of this study, as well as that of the portrayal and self-portrayal of women in the sciences (whether in the educational, or the professional field). A final part examines how women are represented in science fiction which, like science itself, has traditionally been a field dominated by men.