"Old gods fall as Christianity rises across Northern Europe with a fair amount of help from the women behind the scenes, the wielders of true power." -- Chanticleer Reviews "...dramatically gripping novel... A captivating account of the lives of extraordinary women in perilous times." —Kirkus Perfect for fans of Philippa Gregory's The White Queen and Sandra Gulland's The Many Lives & Secret Sorrows of Josephine B. "a fascinating story of upheaval in early Britain...Historical fiction readers will be absorbed by this intricate tale of memorable Northumbrian women fighting for change." —BookLife Men have had the first and last word for too long. In Sandra Wagner-Wright's Saxon Heroines, we get to hear from the powerful women of the early medieval world. Well researched, well detailed, and a compelling story make it an enjoyable fresh take on medieval historical fiction." —Alex Telander, San Francisco Book Review [A] brilliant recreation of the lives of inspiring heroines from seventh-century Northumbria." —Readers' Favorite Seventh century England is a hodgepodge of warring Anglo-Saxon states filled with shifting alliances and treacherous grabs for royal power. Kings rise and fall, depending on Woden's Luck. Northumbria, the damp kingdom north of the River Humber, is a state riven with rivalries and kings determined to expand at any cost. Women have no obvious role in a warrior society, but by using their wits, four women—two queens and two abbesses—make monumental changes. One woman marries a pagan king and successfully converts him to Christianity before he dies in battle. One becomes the most powerful abbess in Northumbria and holds the Great Synod at Whitby Abbey, which brings the kingdom back to the Roman Church. Another becomes queen and keeps political alliances strong despite different religious denominations. The fourth woman ushers in a new age by negotiating with kings and churchmen to establish one united church in the Northumbrian kingdom. Based on true events and people, this is the story of Northumbria through the eyes of the most important women of their time.

Taking up works by Samuel Richardson, James Fenimore Cooper, Sir Walter Scott, and Catharine Maria Sedgwick, among others, Jennifer B. Camden examines the role of female characters who, while embodying the qualities associated with heroines, fail to achieve this status in the story. These "secondary heroines," often the friend or sister of the primary heroine, typically disappear from the action of the novel as the courtship plot progresses, only to return near the conclusion of the action with renewed demands on the reader's attention. Accounting for this persistent pattern, Camden suggests, reveals the cultural work performed by these unusual figures in the early history of the novel. Because she is often a far more vivid character than the heroine of the marriage plot, the secondary heroine inevitably engages the reader's interest in her plight. That the narrative apparently seeks to suppress her creates tension and points to the secondary heroine as a site of contested identity who represents an ideology of womanhood and nationhood at odds with the national ideals represented by the primary heroine, whom the reader is asked to embrace. In showing how the anxiety produced by these ideals is displaced onto the secondary heroine, Camden's study represents an important intervention into the ways in which early novels use character to further ideologies of race, class, sex, and gender.

The numerous class of novel readers who for a lifetime have wandered through the fields of fiction, not premeditatedly seeking mental or moral improvement, but with a mind chiefly on “pleasure bent,” have a treat in store in 'Heroines of Fiction.' Mr. Howells does not write of his own heroines of fiction — it is the creations of the English and American novelists of times long ago who have filled an imaginative world with a galaxy of feminine loveliness and charm that he considers. The dear old friends of fiction who have become as real to us, in name and appearance, as if we and they had lived side by side in the passing years. Mr. Howells presents them to us again, recalling many endearing traits and captivating graces—looking at them also from the literary standpoint and their special relation to the story to which they belong. Mr. Howells has his favorites among novel writers, and he frankly avows his likings. Jane Austen, George Eliot and Henry James he places on a high pedestal far above their contemporaries. Second only to these is the place he awards to Thomas Hardy and Mrs. Humphry Ward. Beginning with Richardson's “Clarissa Harlowe,” he gives us loving and graceful sketches often set in a dramatic scene from the novel under discussion of the heroines of Dickens, Scott, Thackeray, Charlotte Brontë, Charles Reade, and many others.

The little-known lives of women who ruled, schemed, and made peace and war, between the seventh and eleventh centuries: “Meticulously researched.” —Catherine Hanley, author of Matilda: Empress, Queen, Warrior Many Anglo-Saxon kings are familiar. Æthelred the Unready is one—but less is written about his wife, who was consort of two kings and championed one of her sons over the others, or about his mother, who was an anointed queen and powerful regent, but was also accused of witchcraft and regicide. A royal abbess educated five bishops and was instrumental in deciding the date of Easter; another took on the might of Canterbury and Rome and was accused by the monks of fratricide. Royal mothers wielded power: Eadgifu, wife of Edward the Elder, maintained a position of authority during the reigns of both her sons. Æthelflaed, Lady of the Mercians, was a queen in all but name, while few have heard of Queen Seaxburh, who ruled Wessex, or Queen Cynethryth, who issued her own coinage. She, too, was accused of murder, and was also, like many of the royal women, literate and highly educated. Ranging from seventh-century Northumbria to eleventh-century Wessex and making extensive use of primary sources, Women of Power in Anglo-Saxon England examines the lives of individual women in a way that has often been done for the Anglo-Saxon men but not for their wives, sisters, mothers, and daughters.

This book analyzes the gendered transformation of magical figures occurring in Arthurian romance in England from the twelfth to the sixteenth centuries. In the earlier texts, magic is predominantly a masculine pursuit, garnering its user prestige and power, but in the later texts, magic becomes a primarily feminine activity, one that marks its user as wicked and heretical. This project explores both the literary and the social motivations for this transformation, seeking an answer to the question, 'why did the witch become wicked?' Heidi Breuer traverses both the medieval and early modern periods and considers the way in which the representation of literary witches interacted with the culture at large, ultimately arguing that a series of economic crises in the fourteenth century created a labour shortage met by women. As women moved into the previously male-dominated economy, literary backlash came in the form of the witch, and social backlash followed soon after in the form of Renaissance witch-hunting. The witch figure serves a similar function in modern American culture because late-industrial capitalism challenges gender conventions in similar ways as the economic crises of the medieval period.

This comprehensive collection of folk hero tales builds on the success of the first edition by providing readers with expanded contextual information on story characters from the Americas to Zanzibar. Despite the tremendous differences between cultures and ethnicities across the world, all of them have folk heroes and heroines—real and imagined—that have been represented in tales, legends, songs, and verse. These stories persist through time and space, over generations, even through migrations to new countries and languages. This encyclopedia is a one-stop source for broad coverage of the world's folk hero tales. Geared toward high school and early college readers, the book opens with an overview of folk heroes and heroines that provides invaluable context and then presents a chronology. The book is divided into two main sections: the first provides entries on the major types and themes; the second addresses specific folk tale characters organized by continent with folk hero entries organized alphabetically. Each entry provides cross references as well as a list of further readings. Continent sections include a bibliography for additional research. The book concludes with an alphabetical list of heroes and an index of hero types.