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 3 includes ‘At Sundry Times and in Divers Manners’(1891).

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.

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 4 includes ‘Mona Maclean, Medical Student (1892)’.

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. Volume 2 includes ‘Rose Turquand' (1876).

Articulating Bodies shows how Victorian fiction’s narrative form as well as narrative theme to negotiate how to categorize bodies, both constructing and questioning the boundary dividing normalcy from abnormality.

Caroline Norton’s forgotten novel, which has remained unpublished until now, tells of the perils of courtship facing a naïve young girl Alixe, who has been launched onto the London social season.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.

Don’t Leave Your Friends Behind is a collection of concrete tips, suggestions, and narratives on ways that non-parents can support parents, children, and caregivers in their communities, social movements, and collective processes. Don’t Leave Your Friends Behind focuses on issues affecting children and caregivers within the larger framework of social justice, mutual aid, and collective liberation. How do we create new, nonhierarchical structures of support and mutual aid, and include all ages in the struggle for social justice? There are many books on parenting, but few on being a good community member and a good ally to parents, caregivers, and children as we collectively build a strong all-ages culture of resistance. Any group of parents will tell you how hard their struggles are and how they are left out, but no book focuses on how allies can address issues of caretakers’ and children’s oppression. Many well-intentioned childless activists don’t interact with young people on a regular basis and don’t know how. Don’t Leave Your Friends Behind provides them with the resources and support to get started. Contributors include: The Bay Area Childcare Collective, Ramsey Beyer, Rozalinda Borcilă, Mariah Boone, Marianne Bullock, Lindsey Campbell, Briana Cavanaugh, CRAP! Collective, a de la maza pérez tamayo, Ingrid DeLeon, Clayton Dewey, David Gilbert, A.S. Givens, Jason Gonzales, Tiny (aka Lisa Gray-Garcia), Jessica Hoffman, Heather Jackson, Rahula Janowski, Sine Hwang Jensen, Agnes Johnson, Simon Knaphus, Victoria Law, London Pro-Feminist Men’s Group, Amariah Love, Oluko Lumumba, mama raccoon, Mamas of Color Rising/Young Women United, China Martens, Noemi Martinez, Kathleen McIntyre, Stacey Milbern, Jessica Mills, Tomas Moniz, Coleen Murphy, Maegan ‘la Mamita Mala’ Ortiz, Traci Picard, Amanda Rich, Fabiola Sandoval, Cynthia Ann Schemmer, Mikaela Shafer, Mustafa Shakur, Kate Shapiro, Jennifer Silverman, Harriet Moon Smith, Mariahadessa Ekere Tallie, Darran White Tilghman, Jessica Trimbath, Max Ventura, and Mari Villaluna.

Examining activist performance techniques, this book shows how women and men could deeply influence public life in the nineteenth century.

This volume charts the rise of professional women writers across diverse fields of intellectual enquiry and through different modes of writing in the period immediately before and during the reign of Queen Victoria. It demonstrates how, between 1830 and 1880, the woman writer became an agent of cultural formation and contestation, appealing to and enabling the growth of female readership while issuing a challenge to the authority of male writers and critics. Of especial importance were changing definitions of marriage, family and nation, of class, and of morality as well as new conceptions of sexuality and gender, and of sympathy and sensation. The result is a richly textured account of a radical and complex process of feminization whereby formal innovations in the different modes of writing by women became central to the aesthetic, social, and political formation of British culture and society in the nineteenth century.