The Female Fantastic: Gendering the Supernatural in the 1890s and 1920s (Hardcover)

Toward a Female Fantastic

Rebecca D. Soares, Lizzie Harris McCormick, and Jennifer Mitchell

Section 1:

1. Rubbish, Treasure, Litter, Tatters: Fantastic Objects in Context

Jill Galvan

2. Framing the Female Narrative: Subversive Ghost Storytelling in Works by Margaret Oliphant, Vernon Lee, and Edith Nesbit

Anne DeLong

3. Monstrous Femininity and Objectified Masculinity in Daphne du Maurier’s "The Doll"

Donna Mitchell

4. Uncanny Mediums: Haunted Radio, Supernaturally Intuitive Women, and Agatha Christie’s "Wireless"

Julia Panko

5. Buyer Beware: Haunted Objects in the Supernatural Tales of Margery Lawrence

Melissa Edmundson

Section 2:

Profoundly and Irresolvably Political: Fantastic Spaces

Luke Thurston

1. Female Desire, Colonial Ireland, and the "limits of the possible" in E. Œ. Somerville and Martin Ross’s The Silver Fox

Anne Jamison

2. The Haunting House in Elizabeth Bowen’s "The Shadowy Third"

Celine Magot

3. Faerie Fruit and the Queer Codes of Feminist High Fantasy: Lud-in-the-Mist by Hope Mirrlees

Jean Mills

Section 3:

The Fantastic and the Modern Female Experience: Fantastic People

Scott Rogers

1. Marie Corelli’s Ziska and Fantastic Feminism

Mary Clai Jones

2. The Fantastic and the Woman Question in Edith Nesbit’s Male Gothic Stories

Andrew Hock Soon Ng

3. Fantastic Transformations: Queer Desires and "Uncanny Time" in Work by Radclyffe Hall and Virginia Woolf

Jennifer Mitchell

4. "To find my real friends I have to travel a long way": Queer Time Travel in Katharine Burdekin’s Speculative Fiction

Elizabeth English

Section 4:

Invitation to Dissidence: Fantastic Creatures

Jessica DeCoux

1. Rewriting the Romantic Satan: The Sorrows and Cynicism of Marie Corelli

Colleen Morrissey

2. Beauty is the Beast: Shapeshifting, Suffrage, and Sexuality in Clemence Housman’s The Were-wolf and Aino Kallas’s The Wolf’s Bride

Lizzie Harris McCormick

3. The Doctor Treats the Ten-Breasted Monster: Medicine, the Fantastic Body, and Ideological Abuse in Djuna Barnes’s Ryder

Kate Schnur