A prolific author of poetry and fiction, as well as a polemicist for reform of laws pertaining to married women, Caroline Norton inspired fictional portraits by Thackeray, Disraeli, Meredith, and her legal woes led to parodies by Dickens and Gilbert. The Narratives of Caroline Norton analyzes the writings of the controversial Victorian feminist in the context of the dominant social narratives of her day. This insightful study considers Norton’s work from the early silver fork writing to the late sensation novels, studies both her serious and satiric narratives, and considers her polemical pamphlets. Throughout, Randall Craig adeptly uses Norton’s stories in their literary and non-literary contexts to explicate the ways in which Victorian women were both defined and confined.

The Narratives of Caroline Norton situates Norton in relation to Victorian discourses of gender, authorship, law, and politics and studies writings, including in texts by Wollstonecraft, Tennyson, and Thackeray, Trollope.

The Narratives of Caroline Norton situates Norton in relation to Victorian discourses of gender, authorship, law, and politics and studies writings, including in texts by Wollstonecraft, Tennyson, and Thackeray, Trollope.

Caroline Norton’s forgotten novel, which has remained unpublished until now, tells of the perils of courtship facing a naïve young girl Alixe, who has been launched onto the London social season. Her encounters with both a worthy and an undesirable suitor open an intriguing window onto the fashionable society of the 1820s in which Love in "the World" takes place. In placing her heroine in these predicaments Norton was able to draw upon her own experiences of the bon ton, as the time in which the novel is set coincides with her first ball in March 1826, when she burst upon the scene with all her beauty and brilliance, later recalling, “I came out [...] to find all London at my feet.” She believed that London could be as callous as the metropolitan social scene might prove treacherous, and in alerting the reader to the dangers of fashionable society she makes ample use of her own observations as a debutante at her first London season. In a highly readable and coherent narrative with an indeterminate ending, which throws a spotlight onto her life and times, the plot of Love in 'the World' initially follows a pattern broadly representative of her own experience before developing in unexpected and surprising ways.

As the first nineteenth century woman to successfully campaign for women’s rights legislation, Caroline Norton has been comparatively neglected and under-researched. There is, however, a current and growing interest in her life and work. This is a new three volume collection of the correspondence of Caroline Norton. The collection includes over 750 of her letters and also features an introduction by the editors, contextualising and embedding Caroline’s literary and political achievements within the narrative of her letters.

The writers of these novels were involved in various types of activism, using approaches ranging from conservative amelioration to radical militancy. Their works employ a broad variety of genres from the novel of manners, sensation, education and vocation, to allegory, romance and lesbian fiction. Volume 1 includes a general introduction ‘ The Wife’ and ‘Janet Doncaster’.

The writers of these novels were involved in various types of activism, using approaches ranging from conservative amelioration to radical militancy. Their works employ a broad variety of genres from the novel of manners, sensation, education and vocation, to allegory, romance and lesbian fiction.

Female beauty systems everywhere are complex, integrating markers of class, status, power, and sexuality to perform the fundamental function of sorting individuals into categories of “more” or “less” desirable. Heirs to the tradition of courtly love, modern western female beauty systems tend to share the norm of man as pursuer, woman as pursued, having developed around the trope of the madly-desiring poet or knight supplicating his aloof and lovely lady for her favor. The apparent longevity of the courtly love tradition raises the question of whether the way in which it structures male desire in reaction to female beauty is part of a “universal” tendency, an evolutionary adaptation, despite clear evidence that female beauty systems are also, in fact, socially constructed, and reflect enormous ambivalence about the power and performance of beauty. Although modern western female beauty systems are routinely demystified and contested today, the purveyors of culture that support them—institutional, intellectual, artistic, commercial, and popular—continue as they always have to construe women as objects of male desire. Still, within this basic structure, the systems have varied greatly across time and space, with women using beauty as a form of social capital in widely differing ways. Moreover, as individuals have begun to experience their bodies as malleable and endlessly transformable, rather than unruly and unyielding, many have begun to experience beauty less as a given and more as a project. The nine essays collected here examine a number of different Western female beauty systems over the centuries, considering how women have complied with, contributed to, profited or suffered from, and resisted them.

Since the late twentieth century, there has been a strategic campaign to recover the impact of Victorian women writers in the field of English literature. However, with the increased understanding of the importance of interdisciplinarity in the twenty-first century, there is a need to extend this campaign beyond literary studies in order to recognise the role of women writers across the nineteenth century, a time that was intrinsically interdisciplinary in approach to scholarly writing and public intellectual engagement.

Westminster, London, June 22, 1836. Crowds are gathering at the Court of Common Pleas. On trial is Caroline Sheridan Norton, a beautiful and clever young woman who had been maneuvered into marrying the Honorable George Norton when she was just nineteen. Ten years older, he is a dull, violent, and controlling lawyer, but Caroline is determined not to be a traditional wife. By her early twenties, Caroline has become a respected poet and songwriter, clever mimic, and outrageous flirt. Her beauty and wit attract many male admirers, including the Prime Minister, Lord Melbourne. After years of simmering jealousy, George Norton accuses Caroline and the Prime Minister of “criminal conversation” (adultery) precipitating Victorian England's “scandal of the century.” In Westminster Hall that day is a young Charles Dickens, who would, just a few months later, fictionalize events as Bardell v. Pickwick in The Pickwick Papers. After a trial lasting twelve hours, the jury's not guilty verdict is immediate, unanimous, and sensational. George is a laughingstock. Angry and humiliated he cuts Caroline off, as was his right under the law, refuses to let her see their three sons, seizes her manuscripts and letters, her clothes and jewels, and leaves her destitute. Knowing she can not change her brutish husband's mind, Caroline resolves to change the law. Steeped in archival research that draws on more than 1,500 of Caroline's personal letters, The Criminal Conversation of Mrs. Norton is the extraordinary story of one woman's fight for the rights of women everywhere. For the next thirty years Caroline campaigned for women and battled male-dominated Victorian society, helping to write the Infant Custody Act (1839), and influenced the Matrimonial Causes (Divorce) Act (1857) and the Married Women's Property Act (1870), which gave women a separate legal identity for the first time.