From a "Child of Light" to a "Woman of Genius": Sarah Grand's The Beth Book as the New Woman Bildungsroman

The New Woman fiction, popular in the last decade of the 19th century, contested the traditional notions of gender roles and participated in the public debates on women’s rights. The protagonists of the New Woman novels refused to conform to the submissive and self-abnegating Victorian ideal of femininity. The article discusses the ways in which Sarah Grand, a prominent New Woman novelist and social activist, uses and transforms both the elements of her own life and the Bildungsroman conventions in her 1897 novel The Beth Book to create a heroine whose growth and development result in her personal independence and her active public engagement in women’s issues. Cast in a variety of social roles, Beth Maclure reclaims her agency and becomes an embodiment of the New Woman.

Sarah Grand and Oscar Wilde: Decadence, Desire, and the Double Life

It is usual to put the New Woman writer Sarah Grand alongside Oscar Wilde to mark their differences. However, this essay suggests that these two authors had more in common than at first appears, both with regards to the fashioning of their literary identities and to their literary productions. Grand's compendious best-selling novel The Heavenly Twins (1893) is usually seen as realist fiction, but its interlude titled “The Tenor and the Boy,” which was actually composed much earlier, presents a stand-alone narrative that owes more to the romance mode and is much more playful in tone and spirit. It also deals with the decadent theme of the secret double life, although crucially and dramatically Grand focuses on female subterfuge. After juxtaposing Wilde's “Lady Alroy” (1887), another text about the female double life, with Grand's interlude, I subsequently consider decadent qualities common to both “The Tenor and the Boy” and other Wildean texts including theatricality, doubling, gender ambiguity, and queer desire.

Beth Caldwell's Reading Experience

Near the end of the nineteenth century, Sarah Grand coined the phrase "New Woman," which was influential throughout the first wave of the feminist movement. This paper examines how Sarah Grand's representation of Beth Caldwell's reading habits in her novel The Beth Book acts as a metaphor for the subversive femininity of the New Woman. My project explores the ways in which Grand's feminist ideals are reflected in The Beth Book through the scenes when Beth is reading. I suggest that Beth's atypical engagement with books as textual and physical objects can be equated to social dissent. However, Grand also portrays Beth reading within educational and marital institutions. These experiences lead Beth's engagement with the text to become similar to common nineteenth-century reading practices. I conclude with the argument that Grand represents any personal engagement with a book, even if it is not especially radical, as capable of re-evaluating systemically-enforced interpretations.

Behind the Times

Virginia Woolf, throughout her career as a novelist and critic, deliberately framed herself as a modern writer invested in literary tradition but not bound to its conventions; engaged with politics but not a propagandist; a woman of letters but not a “lady novelist.” As a result, Woolf ignored or disparaged most of the women writers of her parents' generation, leading feminist critics to position her primarily as a forward-thinking modernist who rejected a stultifying Victorian past. This book finds that Woolf did not dismiss this history as much as she boldly rewrote it. Exploring the connections between Woolf's immediate and extended family and the broader contexts of late-Victorian literary and political culture, the book emphasizes the ongoing significance of the previous generation's concerns and controversies to Woolf's considerable achievements. It rereads and revises Woolf's creative works, politics, and criticism in relation to women writers including the New Woman novelist Sarah Grand, the novelist and playwright Lucy Clifford, and the novelist and anti-suffragist Mary Augusta Ward. The book explores Woolf's attitudes to late-Victorian women's philanthropy, the social purity movement, and women's suffrage. Closely tracking the ways in which Woolf both followed and departed from these predecessors, the book complicates Woolf's identity as a modernist, her navigation of the literary marketplace, her ambivalence about literary professionalism and the mixing of art and politics, and the emergence of feminism as a persistent concern of her work.

Nation, Gender, and Genre

This chapter examines the changing perception of nineteenth-century Irish women’s fiction and the influence of this body of fiction on emergent modernism and cultural nationalism. The relationship between nineteenth- and twentieth-century Irish fiction was consistently obscured by the agendas of the Irish Revival and cultural nationalism during the twentieth century. This is particularly true of the work of women writers, who frequently suffered a double erasure from the literary record on the basis of gender. This chapter builds on the recovery project of feminist criticism to examine the depth and strength of these writers’ legacy. The analysis includes late nineteenth-century historical novelists such as Emily Lawless, New Woman writers such as Sarah Grand, and popular and sensational writers such as Charlotte Riddell and Katherine Cecil Thurston, who bridged the gap between nineteenth-century issue-based fiction, Gothic fiction and, in Thurston’s case, self-reflexive modernism.

The New Woman

A historical figure as well as a literary phenomenon, the New Woman was named in 1894 in an exchange between ‘Ouida’ (Marie Louise de la Ramée) and Sarah Grand in the pages of the New American Review. The New Woman was a ubiquitous presence in fin-de-siècle literature and journalism concerned with debates about the ‘woman question’, and influenced twentieth-century ideas about feminism and gender. The New Woman novel, with its mapping of female psychological space and emphasis on female consciousness, shaped modernist fiction. New Women were often political activists as well as writers, and agitated for reform on political and domestic questions. Most New Woman fiction rejects aestheticism in favor of realism; it deals with sexuality with a frankness that departed from Victorian codes of propriety and takes up issues such as suffrage, marriage, domestic violence, and the emancipation of women. In its realism, New Woman fiction departs from the aestheticism of the period, although some writers, like George Egerton (Mary Chavelita Dunne Bright), used the techniques of aestheticism to examine women’s experience.