Three Fallen Women


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The Fallen Woman in the Nineteenth-Century English Novel


Book Description

A sympathetic view of the fallen women in Victorian England begins in the novel. First published in 1984, this book shows that the fallen woman in the nineteenth-century novel is, amongst other things, a direct response to the new society. Through the examination of Dickens, Gaskell, Collins, Moore, Trollope, Gissing and Hardy, it demonstrates that the fallen woman is the first in a long line of sympathetic creations which clash with many prevailing social attitudes, and especially with the supposedly accepted dichotomy of the ‘two women’. This book will be of interest to students of nineteenth-century literature and women in literature.




High and Low Moderns


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The Confessions of Frannie Langton


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This breathtaking debut, winner of the Costa First Novel Award, is a murder mystery that travels across the Atlantic and through the darkest channels of history. A brilliant, searing depiction of race, class, and oppression that penetrates the skin and sears the soul, it is the story of a woman of her own making in a world that would see her unmade. All of London is abuzz with the scandalous case of Frannie Langton, accused of the brutal double murder of her employers, renowned scientist George Benham and his eccentric French wife, Marguerite. Crowds pack the courtroom, eagerly following every twist, while the newspapers print lurid theories about the killings and the mysterious woman being tried at the Old Bailey. The testimonies against Frannie are damning. She is a seductress, a witch, a master manipulator, a whore. But Frannie claims she cannot recall what happened that fateful evening, even if remembering could save her life. She doesn’t know how she came to be covered in the victims’ blood. But she does have a tale to tell: a story of her childhood on a Jamaican plantation, her apprenticeship under a debauched scientist who stretched all bounds of ethics, and the events that brought her into the Benhams’ London home—and into a passionate and forbidden relationship. Though her testimony may seal her conviction, the truth will unmask the perpetrators of crimes far beyond murder and indict the whole of English society itself.




The Walworth Beauty


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From the Booker-shortlisted author comes a sensuous, evocative novel exploring the lives of women in Victorian London, for fans of Sarah Waters, Emma Donoghue and Kate Atkinson 2011: When Madeleine loses her job as a lecturer, she decides to leave her riverside flat in cobbled Stew Lane, where history never feels far away, and move to Apricot Place. Yet here too, in this quiet Walworth cul-de-sac, she senses the past encroaching: a shifting in the atmosphere, a current of unseen life. 1851: and Joseph Benson has been employed by Henry Mayhew to help research his articles on the working classes. A family man with mouths to feed, Joseph is tasked with coaxing testimony from prostitutes. Roaming the Southwark streets, he is tempted by brothels' promises of pleasure – and as he struggles with his assignment, he seeks answers in Apricot Place, where the enigmatic Mrs Dulcimer runs a boarding house. As these entwined stories unfold, alive with the sensations of London past and present, the two eras brush against each other – a breath at Madeleine's neck, a voice in her head – the murmurs of ghosts echoing through time. Rendered in immediate, intoxicating prose, The Walworth Beauty is a haunting tale of desire and exploitation, isolation and loss, and the faltering search for human connection; this is Michèle Roberts at her masterful best.







Woman as Writer


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The fallen woman. Representations in dominant victorian discourses


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Bachelor Thesis from the year 2013 in the subject History of Europe - Modern Times, Absolutism, Industrialization, grade: 1,0, Friedrich-Alexander University Erlangen-Nuremberg, language: English, abstract: The aim of this paper is to outline the complexity of the representations of the ‘fallen woman.’ All representations involved the fear of deviancy and the attempt to preserve the social and moral order. However, the strategies to deal with the ‘problem’ called ‘fallen woman’ were divergent. This paper is structured along modern forms of thinking. In Victorian times the differentiation of the religious, medical, judicial and literary fields was not as clear-cut as it is today. For this reason, the primary texts selected for the distinctive chapters might appear to belong to several discourses, not just the one assigned to them. It will become evident that the discourses on the ‘fallen woman’ reveal similar representations as well as contradictory ones. Even though the structure proposes the separation of the representations as victim and as threat, there are overlaps and the distinctions are not as definite as the outline suggests. In order to demonstrate basic ideas about the ‘fallen woman,’ there will be a strong focus on the female prostitute. Many aspects of the discourse on the ‘fallen woman’ become clear when looking at the topic of prostitution, which was thematized in Victorian culture and politics. Moreover, the term ‘stereotype’ will play a major role in this analysis.




Sentimental Confessions


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Sentimental Confessions is a groundbreaking study of evangelicalism, sentimentalism, and nationalism in early African American holy women’s autobiography. At its core are analyses of the life writings of six women--Maria Stewart, Jarena Lee, Zilpha Elaw, Nancy Prince, Mattie J. Jackson, and Julia Foote--all of which appeared in the mid-nineteenth century. Joycelyn Moody shows how these authors appropriated white-sanctioned literary conventions to assert their voices and to protest the racism, patriarchy, and other forces that created and sustained their poverty and enslavement. In doing so, Moody also reveals the wealth of insights that could be gained from these kinds of writings if we were to acknowledge the spiritual convictions of their authors--if we read them because (not although) they are holy texts. The deeply held, passionately expressed beliefs of these women, says Moody, should not be brushed aside by scholars who may be tempted to view them as naïve or as indicative only of the racial, class, and gender oppressions these women suffered. In addition, Moody promotes new ways of looking at dictated narratives without relegating them to a status below self-authored texts. Helping to recover a neglected chapter of American literary history, Sentimental Confessions is filled with insights into the state of the nation in the nineteenth century.