Bourrier, Karen. "Narrating Insanity in the Letters of Thomas Mulock and Dinah Mulock Craik." Victorian Literature and Culture 39.1 (2011): 203-222.

"The popularity [Dinah Mulock Craik] attained with John Halifax, Gentleman only exacerbated her private difficulties . . . the self-effacement Craik displayed in her writing and her public life was far from an effusion of demure, sentimental domesticity; it was a strategy for coping with the madness that threatened to destroy her family life."

Brown, Daniel. "George Egerton's Keynotes: Nietzschean Feminism and Fin-de-Siecle Fetishism." Victorian Literature and Culture 39.1 (2011): 143-166.

"Egerton's broad but nonetheless radical engagement with Nietzschean thought can be traced through the references she makes to the philosopher in Keynotes, which are widely credited with being the first in English literature."

Chialant, Maria Teresa. "Dickensian Resonances in the Contemporary English Novel." Dickens Quarterly 28.1 (2011): 41-51.

Analyzes "'Dickensian resonances' in contemporary British fiction, singling out similarities and differences between the Victorian writer's sub-texts and their modern rewriting." Our Mutual Friend, Oliver Twist, and Bleak House constitute as London's underworld among others.

Cook, Daniel. "Bodies of Scholarship: Witnessing the Library in Late-Victorian Fiction." Victorian Literature and Culture 39.1 (2011): 107-125.

Considers "how the scholar's library enters late-Victorian fiction, and specifically its reciprocal impact on the novel of ideas (such as Mrs. Humphrey Ward's Robert Elsmere), which can itself be conceived as an avatar of the library: a scholarly tradition separated and secreted as narrative."

Curtin, Mary Elizabeth. "'Life Bottled Wasps': Beerbohm, Huysmans, and the Decadents' Suburban Retreat." Victorian Literature and Culture 39.1 (2011): 183-200.

"Strange, then, to think that at the end of the nineteenth century, two of Europe's Decadent writers - Max Beerbohm and Joris-Karl Huysmans - could find in the suburbs of London and Paris an aesthetic retreat from the snares of bourgeois urban life."

Elleray, Michelle. "Little Builders: Coral Insects, Missionary Culture, and the Victorian Child." Victorian Literature and Culture 39.1 (2011): 223-238.

"This essay addresses the missionary culture that both preceded and is embedded in The Coral Island by examining popular accounts of the formation of coral islands and an evangelical periodical for children, the Juvenile Missionary Magazine."

Farkas, Carol-Ann. "Fictional Medical Women and Moral Therapy in the Late-Nineteenth Century: Daughters of Aesculapius, Mothers to All." English Literature in Transition 54.2 (2011): 139-164.

"The height of the late-Victorian medical woman's success owed much to her ability to reconcile - or conflate - her feminist goals with the teachings of empirical science, essentialist notions about sexual identity, and anxieties of popular racialist sentiment." Analyzes the reflection of moral, medical and maternal traits in "Sydney Grier (Hilda Gregg)'s" Peace with Honour, Annie S. Swan's Elizabeth Glen, MB and Mrs. Keith Hamilton, MB, Margaret Todd's Mona Maclean, Medical Student, and Charles Reed's A Woman Hater among others.

Henderson, Kate Krueger. "Mobility and Modern Consciousness in George Egerton's and Charlotte Mew's Yellow Book Stories." English Literature in Transition 54.2 (2011): 185-211.

"The Yellow Book (1894-1897) capitalized on dismantling expectations of urbanity through gender and thus actively shaped this project of cosmopolitan deterritorialization: unidentified and unidentifiable women roamed indiscriminately through London in its pages. By aligning its ethos with controversial New Woman fiction and promoting women writers such as George Egerton and Charlotte Mew, The Yellow Book gained a reputation as a cultural commentator."

Hildebrand, R. Jayne. "News from Nowhere and William Morris's Aesthetics of Unreflectiveness: Pleasurable Habits." English Literature in Transition 54.1 (2011): 3-27.

"By identifying habit rather than a set of laws or a system of government as the binding force of socialist community, Morris places at the centre of his political theory a form of repetitive, unreflective behaviour that was deeply unpopular in much nineteenth-century thought and continues to pose a problem for many present-day critics of News from Nowhere."

Houston, Gail Turley. "[Victorians Live] Young Victoria]." Victorian Literature and Culture 39.1 (2011): 269-272.

"The film Young Victoria (2009) illustrates many of the anomalies the Queen . . . and her Prince Consort . . . strained against." Discusses "if Victoria was the representation of a failure of masculinity, as it were, Albert, legally known as 'Consort,' could hardly have been taken as a success (or succession) of manhood."

Ichikawa, Chieko. "Writing as Female National and Imperial Responsibility: Florence Nightingale's Scheme for Social and Cultural Reforms in England and India." Victorian Literature and Culture 39.1 (2011): 87-105.

"Explores the dynamism of Nightingale's writing which provided the basis for her participation in the political and ideological debates over the nation and the Empire. . . . Examines Nightingale's concept of a "healthy" nation in her writings on public health in Britain and India."

Jones, Anna Maria. "Conservation of Energy, Individual Agency, and Gothic Terror in Richard Marsh's The Beetle, or, What's Scarier Than an Ancient, Evil, Shape-Shifting Bug?" Victorian Literature and Culture 39.1 (2011): 65-85.

Anna Maria Jones examines "two oppositions that shape critical discussions of the fin-de-siècle Gothic - horror and terror, and entropy and energy" in relation to Marsh's gothic novel The Beetle, a story similar to Bram Stoker's Dracula.

Kaiser, Matthew. "Pater's Mouth." Victorian Literature and Culture 39.1 (2011): 47-64.

"As Lionel Johnson discovered when he lunched, dined, smoked, and took Communion with Pater, when he fell in love with him, and when he thought fondly of him the next day, Pater teaches us, in the end, how to appreciate, how to unfurl a thought lovingly across our tongues, how to give ourselves the gift of time. He is like the angel from the Book of Revelation who places the 'Word' in our mouths."

Knoepflmacher, U.C. "Boy-Orphans, Mesmeric Villains, and Film Stars: Inscribing Oliver Twist Into Treasure Island." Victorian Literature and Culture 39.1 (2011): 1-25.

States that "there are . . . remarkable similarities between the two texts" -- Oliver Twist and Treasure Island. "For each dramatizes a young boy's immersion in a counter-world headed by villains who defy the norms of a dubious patriarchal order. . . . The strong spell"[s] exerted by the villains on "the innocents they mesmerize infects readers of each narrative as well as viewers of their many cinematic adaptations."

Latham, Monica."Bringing Newness to the World: Lloyd Jones's Pacific Version of Great Expectations'." Dickens Quarterly 28.1 (2011): 22-40.

"Examines the literary implications of Lloyd Jones's playing with and manipulating a Western canonical hypotext, Great Expectations, in order to create original hypertexts which are subtly interwoven in his novel, Mister Pip."

Lutz, Deborah. "The Dead Still Among Us: Victorian Secular Relics, Hair, Jewelry, and Death Culture." Victorian Literature and Culture 39.1 (2011): 127-142.

Material object and grief became essential themes in Victorian literature. This is evident in Heathcliff's inserting a lock of his hair in Catherine's remains in Wuthering Heights, Rossetti's sensualising of the dead woman in "The Blessed Damozel," Magdalen's drawing of a morsel of hair in Wilkie Collins's No Name, Tennyson's view of the afterlife in In Memoriam, significance of locks of hair in Dickens's A Tale of Two Cities and Hardy's Far from the Madding Crowd.

Macdonald, Kate. "Edwardian Transitions in the Fiction of Una L. Silberrad." English Literature in Transition 54.2 (2011): 212-233.

"By considering the predominant themes in her [Silberrad's] novels, focusing on her first fifteen years of publishing, and on her novels The Good Comrade (1907) and The Affairs of John Bolsover (1911), it becomes clear that [her style] give[s] strength to her work."

McKean, Matthew K. "Rethinking Late-Victorian Slum Fiction: The Crowd and Imperialism at Home." English Literature in Transition 54.1 (2011): 28-55.

"London's crowd was for slum writers an imperial encounter on their very own doorsteps. . . . The crowd symbolized a kind of incomplete humanity that befitted sensational writing, not rational reform." The East End London crowd is depicted in Gissing's Workers in the Dawn, A Nether World, and Demos, Harkness's A City Girl and Out of Work, Morrison's Tales of Mean Streets and A Child of Jago, and Besant's All Sorts and Conditions of Men among others.

Navarre, Joan. "Oscar Wilde, Edward Heron-Allen, and the Palmistry Craze of the 1880s." English Literature in Transition 54.2 (2011): 174-184.

"This article explores social history and analyzes elements from Wilde's story [Lord Arthur Savile's Crime: A Story of Cheiromancy] more thoroughly to advance the claim that Heron-Allen indeed influenced Wilde."

Nielsen, Danielle. "Samuel Butler's Life and Habit and The Way of All Flesh: Traumatic Evolution." English Literature in Transition 54.1 (2011): 79-100.

"Samuel Butler's seminal evolutionary text Life and Habit (1878) and semiautobiographical novel The Way of All Flesh (1903) instill in modern readers a sense of the social discord of the late-Victorian period. . . . Together The Way of All Flesh and Life and Habit show that seclusion, alongside trauma, enables one to utilize free will and escape the deadening effects of church and family."

Nord, Deborah Epstein. "Dickens's 'Jewish Question': Pariah Capitalism and the Way Out." Victorian Literature and Culture 39.1 (2011): 27-45.

"Fagin in Oliver Twist serves as an archetypal Jew, second only to Shylock. But Riah in Our Mutual Friend also grows out of Dickens's fascination with "forms of urban labor and his interest in the possibilities of personal and social transformation.""

Poon, Phoebe. "Trust and Conscience in Bleak House and Our Mutual Friend." Dickens Quarterly 28.1 (2011): 3-21.

States that both in Bleak House and in Our Mutual Friend, "there is still hope that trust and conscience - personalized and feminized - may prevail as values of overriding significance in the modern world."

Schaffer, Talia, "[Victorians Live] Playing With Pictures: The Art of Victorian Photocollage." Victorian Literature and Culture 39.1 (2011): 284-291.

"A recent show at the Metropolitan Museum of Art, Playing with Pictures: The Art of Victorian Photocollage, displayed arresting images: photographs of aristocratic family members snipped and pasted into bizarre scenes that were carefully drawn with pen and ink or painted with watercolors."

Silver, Carole G. "Waterhouse Revisited." Victorian Literature and Culture 39.1 (2011): 263-269.

The exhibition 'J.W. Waterhouse: The Modern Pre-Raphaelite' at the Royal Academy raises a few questions about Waterhouse. "Is Waterhouse a Pre-Raphaelite, albeit a late one, and if so, what makes him one? And is he modern and in what sense? Is his modernity a matter of new techniques, of the rejection of narrative, of a fresh conception of art?"

Singleton, Jon. "Malignant Faith and Cognitive Restructuring: Realism in Adam Bede." Victorian Literature and Culture 39.1 (2011): 239-260.

"The realism Eliot articulates in Adam Bede (1859) and elaborates for the rest of her career is modeled on her understanding of the cognitive structure of faith - and calculated to infiltrate and eradicate it."

Slinn, E. Warwick. "Darwin in the Greater Britain of the Southern Hemisphere." Victorian Literature and Culture 39.1 (2011): 272-278.

"In 2009 . . . [the] Allan Wilson Center for Molecular Ecology and Evolution . . . at Massey University, [New Zealand] . . . commissioned the performance of a celebratory play about Charles Darwin to commemorate his achievements for the 200-years anniversary of his birth and the 150-years anniversary of the publication of On the Origin of Species."

Stauffer, Andrew M. "Digital Scholarly Resources for the Study of Victorian Literature and Culture." Victorian Literature and Culture 39.1 (2011): 293-303.

Review article."Provides a categorical map to the landscape of digital resources available to enrich scholarship on Victorian literature and culture."

Sussman, Herbert. "Steampunk at Oxford." Victorian Literature and Culture 39.1 (2011): 278-284.

"An exhibition called simply Steampunk by the august Oxford Museum of the History of Science. . . . The steampunk art shown at Oxford looks to revive the joy ofmaking in amachine age by evoking an alternative Victorian technological universe of steam, proto-computers, and hand-made optical instruments."

Vargo, Gregory. "A Life in Fragments: Thomas Cooper's Chartist Bildungsroman." Victorian Literature and Culture 39.1 (2011): 167-181.

Selects "four stories from Cooper's collection which taken together might comprehend a life. . . . The technical inventiveness of the stories in Wise Saws and Modern Instances makes the collection significant . . . By refashioning the Bildungsroman as a set of discrete tales, Cooper effectively splinters narrative perspective and embraces a dialogic structure."

Wagner, Tamara S. "Dickens's 'Gentleman for Nowhere': Reversing Technological Gothic in the Linkages of Mugby Junction." Dickens Quarterly 28.1 (2011): 52-64.

"Written within a pervasive sensationalization of technology and after Dickens's own experience of its dangers," the 'technological Gothic' tale of Mugby Junction does not simply reflect a specific discourse or disaster."

Weintraub, Stanley. "Marie Corelli's Satan and Don Juan in Hell." English Literature in Transition 54.2 (2011): 165-173.

The probability of Shaw's idea of Don Juan in Hell "began to coalesce when he read The Sorrows of Satan and then reviewed a stage adaptation in 1897. Since 1886 he had reviewed her [Corelli's] best-selling yet critically excoriated novels, all with a melodramatically religious dimension emanating from late-Victorian agonizing about faith and doubt."

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