Tuesday, March 29, 2016

The following notes will serve as annotations on a master bibliography I intend to use for my comprehensive exams this fall.  I'm offering them here a) to keep track of them and b) to recognize all that I'm reading this semester, even if it's not a formal "book" this week.

20.
Selections on gender from [Victorian Prose] (ed. Leighon and Surridge) and  [Victorian Prose] (ed. Mundhenk and Fletcher).

Leighton, Mary Elizabeth and Lisa Surridge.  The Broadview Anthology of Victorian Prose: 1832-1901.  Ontario: Broadview Press, 2012. Print.
Mundhenk, Rosemary J. and LuAnn McCracken Fletcher.  Victorian Prose: An Anthology.  New York: Columbia University Press, 1999. Print.

Bodichon, Barabara Leigh Smith. "from A Brief Summary, in Plain Language, of the Most important Laws Concerning Women; Together with a Few Observations Thereon. Leighton and Surridge. 292-8.

A general understanding of the laws which governed the rights of women in nineteenth-century England does not stand to an actual explanation of their place in the legal system.  Married women are, very literally, non-persons in the eyes of the Victorian government, instead existing as extensions of their husbands who have full legal rights over their persons, offspring, property, and production.  "A man and wife are one person in law; the wife loses all her rights as a single woman, and her existence is entirely absorbed in that of her husband" writes Bodichon, a suffragette and activist.  She goes on to detail in her summary the legal justification for marital rape, how no man is obliged to "support his wife" (despite her inability to autonomously support herself 0 294), how she owns not even her own clothing (293), and how she maintains no custody over her children (294). Bodichon further laments that divorce is a luxury for the wealthy patriarch, and in her "Remarks," uses strong language which describes even the most capable of women as "infants" under the care of their husbands (296), the legal robbery at their hands, and the general abuse supported by the system. These are the tumultuous politics which inspired the political movements discussed in The Politics of Gender in Victorian Britain.


Ellis, Sarah Stickney.  "The Women of England, Their Social Duties, and Domestic Habits. Victorian Prose. Mundhenk and Fletcher. 53-7. AND Leighton and Surridge 288-92.

According to the editors of the volume, Ellis is one of the central figures responsible for the formulation of the gendered "spheres" for which Victorians are so well known.  Author of The Daughters of England, The Mothers of England, The Wives of England, and others, Ellis' writing seeks to direct readers in the proper formulation and execution of gender in support of a culturally-forwarded system of morality and propriety.  In this selection Ellis is directly equating the morality of women with the morality of English, which she posits is superior to that of other countries. In the Broadview edition, there is an emphasis on the actual influence of women, as Ellis chastises women who claim they have none.  She asserts, "Have they not bound themselves by a sacred and enduring bond, to be to one fellow-traveller along the path of life, a ... guide and a help...? ... Above all, have they not, many of them, had the feeble steps of infancy committed to their care - the pure unsullied page of childhood presented to them for its fist and most durable inscription? - and what have they written there? ... It is therefore not only false in reasoning, but wrong in principle, for women to assert ... that they have no influence"" (290). It is for this influence, then, that Ellis argues in the Mundhenk excerpts, for the exercising of female morality in the improvement of England.


Greg, William Rathbone. “Why Are Women Redundant?” Mundhenk and Fletcher. 157-63.
According to editors, Greg’s “Why Are Women Redundant?” is published in The National Review in 1862 in response to the 1851 census which identifies a large population of women between twenty and forty who are not married.  As it is considered the duty of a moral middle class to marry and produce children, the number of unmarried women is identified as a threat to middle class values and expectations, and thus a problem to be solved.  Greg’s solution, then, is exportation – the emigration of single women to the colonies which has drawn away large numbers of single men. “Hundreds of women remain single in our distorted civilization because they have never been asked at all,” Greg asserts, and thus wishes to place them in a positon where they may be asked.  Evident in his analysis is the material status of women in Victorian culture – he wishes to export a surplus like so many goods, in order to balance the moral and social economy of his country.


Mill, John Stuart.  "The Subjection of Women." Mundhenk and Fletcher. 121-31.
Mill’s seminal essay begins succinctly with the assertion of “an opinion which [he has] held from the very earliest period when [he] had formed any opinions at all on social or political matters … That the principle which regulates the existing social relations between the two sexes – the legal subordination of one sex to another – is wrong in itself, and now one of the chief hindrances to human improvement; and that it out to be replaced by a principle of perfect equality, admitting no power or privilege on the one side, nor disability on the other” (122). His support is a reading of culture and history which demonstrates that the way things “have always been” is not necessarily the right way to do things – that “the adoption of this system of inequality never was the result of deliberation, or forethought, or any social ideas, or any notion whatever of what conduced to the benefit of humanity or the good order of society” (123) – essentially, that the subordination of women is literally senseless. He attacks the reasoning of a powerful majority by alluding to slavery, and that this abhorrent system is maintained as “a matter of compact among the masters” for their own good, and not the good of the whole. He associates the place of nineteenth century women with this form of bondage by further stating that “it is the primitive state of slavery lasting on” (123), and moves forward to demonstrate that the state of women is not natural, as some politicians claim, but the result of male sentimentality and fear.  He argues that in a culture seeking to move forward and evolve as exemplary the state of one women is backwards, and that their legal status is (negatively) unique “in modern legislation” (128). Of the calls for maintenance Mill says that one cannot truly know women because they do not yet have the rights and education to express themselves as thoughtfully and completely as men – that they’ve been denied the powers of full representation, and thus a reading of the female character is an imperfect analysis of an external, limited reader.  There is a great deal here useful for the understanding of Victorian culture as a whole, and gender politics specifically.


Nightingale, Florence. "from Suggestions for Thought to the Searchers after Truth among the Artizans of England: Volume 2, Section 5: Cassandra." Leighton and Surridge 298-300.

In excerpts from "Cassandra" in both anthologies, Nightingale uses the language of dreaming, blessings, and saviors to argue for the necessity of offering women full educations in support of their moral, intellectual, and social development. She speaks of women mourning opportunities they never have, and how dreams and thoughts are crushed by the cultural system which denies them the educational opportunities of men.  She says women are "petrified into stone ... chained to the bronze pedestal" when, with education, "woman will be the Saviour of her race" (299). Restriction to the domestic sphere kills the ideal philosophical life of the woman, and that "Men are afraid that their houses will not be so comfortable, that their wives will make themselves 'remarkable'" actually makes women "recoil" from domestic expectations - that, in fact, restricting women so vehemently is a greater threat to these gender spheres than educating women may be.


Norton, Caroline.  “A Letter to the Queen on Lord Chancellor Cranworth’s Marriage and Divorce Bill.”  Mundhenk and Fletcher. 143-55.

Caroline Norton’s unfortunate social and legal position serves as an exemplary case of the abuses of the gendered system of law.  In “A Letter to the Queen” she considers the absurdity of her own non-existence in the eyes of the law, as a citizen of a country until the rule of a queen.  Many of her complaints are echoes of the other reflections on the unfortunate position of gender, with the additional ethos of a woman who has been directly harmed by this legal imbalance.  She writes, for example, that “An English wife has no legal right even to her clothes or ornaments … her husband … is not bound to [maintain] her … As her husband, he has a right to all that is hers: as his wife, she has no right to anything that is his” (146-7).  Like Bodichon, Norton reflects that divorce is a luxury for the wealthy, and that lower classes are still ignorant of their rights and obligations.  Her rhetoric maintains much of the tone of Ellis, as she says, “The natural position of woman is inferiority to men. Amen! That is a thing of God’s appointing, not of man’s devising” (150), but begs the law to take consideration of men who are themselves tyrannical: “do not leave me to the mercy of one who has never shewn me mercy” (151). She seeks not superiority, she says, but the legal right of autonomy – to protect herself.  Her sentiments are just the sort that are described in The Politics of Gender - a call to the government (patriarchy, really) to allow women protection under that patriarchy from individual deviant husbands.


Ruskin, John.  "Lecture 2: Lilies: Of Queen's Gardens." Leighton and Surridge 301-9.

Ruskin's famous lecture on women's education falsely asserts that women are queens of their own domestic spheres in order to maintain that men and women are separate-but-equal in the present system. He scoffs at the idea that man "could be helped effectively by a shadow, or worthily by a slave!" and thus "We are foolish, and without excuse foolish, in speaking of the 'superiority' of one sex to the other, as if they could be compared in similar things" (302). Throughout the lecture he suggests that women's "intellect is ... for sweet ordering, arrangement, and decision," that she's naturally intellectually inclined to the ordering and maintenance of a peaceful and comforting household, and that "within his house, as ruled by her, unless she herself has sought it, need enter no danger" (302). He maintains that women should be educated similarly to men, that they can understand the woes of their husbands, communicate domestic and "sweet" ideas to others in their native tongues, and generally to know "whatever her husband is likely to know ... for daily and helpful use" (304). Thus, a woman's education should be pursued as a boon to her husband, to make her a better helpmate.

Several interesting pronouncements are made within the lecture which are worthy of their own consideration, including: "You bring up your girls as if they were meant for sideboard ornaments, and then complain of their frivolity" (304); "You do not treat the Dean of Christ Church or the Master of Trinity as your inferiors" (and so should not treat governesses in this way - 305); "There is not a war in the world, no, nor an injustice, but you women are answerable for it; not in that you have provoked, but in that you have not hindered" (307).


Ward, Mary Arnold (Mrs. Humphry).  “An Appeal Against Female Suffrage.” Mundhenk and Fletcher. 417-422.

In an address signed by 104 female anti-suffragettes, Ward ardently defends the status quo and the relinquishing of rights, decisions, and power to the male sex in support of female decency and morality. Citing “natural” differences between men and women which render women less capable to make political decisions, such as their “natural eagerness and quickness of temper” (419), Ward maintains that women have all the influence they can handle, thank you very much, and their inclusion in “foreign or colonial policy, or of grave constitutional change” would be disastrous as compared to the “sound judgment” of men (419). Several points, however, signify greater cultural judgment as inspiration for the appeal. For example, point three warns that “If votes be given to unmarried women on the same terms as they are given to men, large numbers of women leading immoral lives will be enfranchised on the one hand, while married women, who, as a rule, have passed through more of the practical experiences of life than the unmarried, will be excluded.”  But, she continues, giving married women the same vote will be too great of an upset to “family life … which have never been adequately considered” (420). Giving women the vote is “demoralizing” and indicates “a total misconception of woman’s true dignity and special mission” (421).

Wednesday, March 23, 2016

19.
Title: [Batman: The Man Who Laughs]
Author: Ed Brubaker
Genre: Comics
Medium: Paperback
Acquisition: IS Research
Date Completed: March 21, 2016
Rating: ****

One of the constant draws of The Joker is the uncertainty of his past; though narratives are offered from time to time (*cough*AlanMoore*cough*), even these "definitive" stories are challenged by the ambiguity of the character himself: he is literally not to be trusted. Ever. Even in the naming of his own past. This is one of the characteristics which makes him a memorable, and lasting, antagonist.  The Man Who Laughs is purportedly a re-telling (re-inking, re-publishing?) of the original 1940 comic, which saw the introduction of a strange jester.  I say "purportedly" only because I have not yet managed to read Batman #1, though I will.  In his first introduction, the Joker is all chaos - and nameless, given his famous moniker by the press as he mysteriously poisons Gotham elite (and anyone else who is inconveniently placed).  Arkham Asylum has not yet opened when the Joker first murders a reporter and cameraman in front of its gates, leaving an impression inside and out before he ever takes up residence.

As a story, it is a bit lackluster, given all the Joker will come to do.  As an origin, it's successful, providing the first and only really trustworthy beginning point of the villain who becomes Batman's mirror.

Monday, March 21, 2016

I'm not sure what counts as spoilers for comics readers; I tend to treat them like Shakespeare and other classic literature, in which the conclusion is already widely known, even by those who haven't actually read the book.  I don't think I've "given away" anything extraordinary here, but my apologies to any who disagree.

18.
Title: [Death of the Family]
Author: Scott Snyder and Greg Capullo
Genre: Comics
Medium: Paperback
Acquisition: IS Research
Date Completed: March 20, 2016
Rating: *****

I'm finding it difficult to review this book casually; every time I begin writing I come to conclusions and observations I wish to save for the paper I'm crafting, and so I come back to square one.  The basics are straight forward: this New 52 title is a play on its predecessor, Death in the Family in which the Joker violently beats Jason Todd to death (at the encouragement of fans who voted, if I'm not mistaken).  Though this may read, and in the moment does, as a hugely significant narrative moment, for the Joker death is just another day at work, and play.  His history is tumultuous, with a few constants: mayhem, Arkham Asylum, and Batman.

In this new arc the Joker escapes one and uses another in order to achieve the full attention of the third, targeting the "Bat family" in the belief that they have sentimentalized Batman, and therefore made him weak, and thus less of a capable adversary. For an antagonist who identifies so intensely with his protagonist, this holds serious implications, and a year after disappearing from the asylum he sets out to "right" their dynamic through exceptional violence worthy of the most psychotic Joker arcs.

I sought out this book specifically looking for a moment of violence - when the Joker has his face removed by the Dollmaker, leaving it on a wall as a bloody calling card; this is apparently viewed as a moment of "rebirth" for the figure, and it's pertinent to my current research to think about what this means.  This moment proceeds the current book, but that doesn't detract from its interest. One point of contention I have is a major missing story - that of Catwoman. Though the Joker singles her out as a member of the "family," she is suspiciously missing from the final reunion.

Most of my conclusions and observations will (hopefully) end up in a paper this term, so I'll just end simply: I liked it.  More so, I think, than The Killing Joke, and certainly more than Death in the Family.
17.
Title: [Masculinity, Crime and Self-Defence in Victorian Literature: Duelling with Danger]
Author: Emelyne Godfrey
Genre: Masculinity, Victtorian, History
Medium: Paperback
Acquisition: IS Book 6
Date Completed: March 19, 2016
Rating: ****

In Masculinity, Crime, and Self-Defence in Victorian Literature, Emelyn Godfrey approaches shifting cultural values of manliness and the reading of violent reaction to crime through an examination of communicative cultural objects – the literature, plays, newspapers, and commercial advertisements which both reflect and direct the responses of the audience. For Godfrey’s project, manliness is particularly defined by gentlemanliness, recalling the restraint and abhorrence of violence described by Ben Griffin in The Politics of Gender. The principles of the “savage” and the “natural” violence of men, so often cited as a conscious interest for Victorians, is acknowledged as the “other” against which gentlemen are defined – they who have morally evolved past such brutishness to restrained morality.  This dichotomy is reflected in the “blood men” – i.e. those who respond violently – and their more thoughtful counterparts (Holmes is a strong example used by Godfrey). But what of chivalry and manliness? Of self-defense? Godfrey’s work details how such necessary violence is defined by Victorians in response to the uncivilized brutes (i.e. criminal lower classes, or “blood men”), and whether or not self-defense and even retaliation are manly.

I admit that I find myself a bit distracted by Godfrey’s source material – specifically the material goods offered to promote the successful manliness of gentlemen, and their reversal of symbolism as they fall out of favor (handguns, for example). I’ve long worked with the material construction of identity of female characters in literature, and Godfrey’s accoutrements offer tantalizing possibilities to carry this over to masculine characters (oh, the anti-garroting collars! Life-preservers! The “monstrous fashion” for handguns! p.119).

In a more broad sense, Godfrey’s work on the “average” (i.e. white, middle-class, male) citizen offers a lens through which one can read popular vigilante heroes in novels, media, comics, and our own sensationalized news.

I really enjoyed this book for both its methods, and its histories.  While the readings of the Whitechapel Murders were pointedly shallow and seemingly insignificant to the project, tangentially related for being of a time and sensationalized in the press, the readings of literature as reflective of a reaction to the perception of criminal threat were pointed and thoughtful, offering strong conclusions and suggesting areas of further research.

Sunday, March 13, 2016

16.
Title: [Fire Touched]
Author: Patricia Briggs
Genre: Urban Fantasy
Medium: Hardback
Acquisition: Pre-Ordered
Date Completed: March 9, 2016
Rating: ***

The latest in the Mercy Thompson series, Fire Touched has received rave reviews on LibraryThing.  Though I, too, share much of the enthusiasm as these readers, I have to beg to differ on their love of this latest.  To be direct, I found it to be an incredible disappointment.

Why?  Because nothing happens.

I've long looked to Briggs as a consistent fantasy author whose work I know will deliver a certain level of entertainment.  She writes interesting characters, and is consistent throughout, developing each personality in linear (i.e. believable) ways.  Her protagonist is compelling and sympathetic, and the whole work has a strong mix of reality versus fantasy that makes it both familiar and escapist. However, the active arc of Fire Touched is dry and mechanical as compared to much of the series thus far.  From the first, Mercy and the wolf pack are used as an extension of the police force, and their presence is more like a weapon than sentient participants.  Something bad happens, the wolves are called in, and everything is resolved.  Even the social conflict between fae and the rest is glossed over, and very little is done to build this tension.  There are so many moments which could have been entertainingly (but consistently!) dramatic, but things are neatly and quietly resolved in the blink of an eye.

Despite the title there is very little fiery about this story.

Sunday, March 6, 2016

Whoops, missed one.

15.
Title: [We Have Always Lived in the Castle]
Author: Shirley Jackson
Genre: Gothic Satire
Medium: Paperback
Acquisition: Work Text
Date Completed: February 23, 2016
Rating: ****

I teach Shirley Jackson's last (and, in my opinion, best) novel as a companion to One Flew Over the Cuckoo's Nest for a unit on madness which explores the complications of "untrustworthy" narrators, the labeling of mental illness, social commentary, and perspective.  Mary Katherine Blackwood is undoubtedly different; though her actions aren't condoned  in the "real" world, the satire of the text offers her a compelling sense of sympathy which makes for a curious and enjoyable reading experience.  My students are often surprised when I bring up what they already know - MK identifies her age as 18 within the first paragraph, but students often gloss over this in reading her tone, which is much younger - and are quick to vilify her for her aggressive fantasies (i.e. wishing death and pain on the townsfolk she is forced to interact with twice a week).  They toss around the work "psychopath," no doubt because of our fist reading of Kesey, and so this time around I found the "test" for psychopathic disorder, and we systematically checked her behaviors against the list, with two other prominent characters - with wonderfully surprising results.  I won't say more, so as to avoid spoilers, but actually attempting to diagnose the characters provided a unique perspective on the text, and brought the satire into sharp focus.
13.
Title: [Victorian Masculinities]: Manhood and Masculine Poetics in Early Victorian Literature and Art
Author: Herbert Sussman
Genre: Masculinity Studies
Medium: Paperback
Acquisition: IS Book 4
Date Completed: March 4, 2016
Rating: ***1/2

A driving concern of Herbert Sussman’s account of early Victorian artistic grappling with gender is the recognition of a spectrum of masculinity, even within the confines of white bourgeois normativity. In introducing his primary representative symbol, Sussman suggests that “the monk becomes the extreme or limit case of the central problematic in the Victorian practice of masculinity … the figure through whom Victorian men in a mode of historicized psychology could argue their widely varied views about self-discipline, the management of male sexuality, and the function of repression” (3), and through subsequent chapters illustrates the myriad of readings of this symbol by early Victorian artists as they articulate their own anxieties and definitions of manliness and its cultural/social/biological constructions. More important than these individual readings is what Sussman endeavors to show as  whole: that, though prevalent, “compulsory heterosexuality and compulsory matrimony” as touted by the moral middle class is not the only estimation of Victorian manliness, and that even this normativity is “exceedingly difficult to maintain” (13).

Like Kimmel, griffin, and Bederman before, Sussman begins by identifying tensions and anxieties which necessitate an Othering, in order to affirm a sense of selfhood and positive identity. But unlike these other texts, Sussman does not seem to forward a grand narrative of masculinity for his chosen object (the early Victorian white bourgeois man), and instead demonstrates variance which illuminates cultural uncertainty. Sussman is taking Kimmel’s pervasive homosociality, and perhaps the heroic artisan, and broadening its scope.


Topics of interest:
On page 82 Sussman cites the fears of poets such as Browning that their literary work, though definitively masculine in the nineteenth century, is somehow still “women’ work,” and that they are in fact feminizing themselves through their interiority – by staying within their own heads.  This “within” reminds me of Griffin’s descriptions of the Victorian household, and the contentious space of the home in Kimmel: that man should be the ruler of the domestic space, but that this space ultimately threatens his masculinity. I am interested in the potential connection here to the earlier argument that “For Browning, pornography exemplifies the driving of male desire into the inner cloister of the mind, the warping of virility by the puritanical constrains of bourgeois England” (75). Body versus mind (neurasthenia? – Bederman 84), industry versus domesticity.


14.
Title: [Houdini, Tarzan, and the Perfect Man]: The White Male Body and the Challenge of Modernity in America
Author: John F. Kasson
Genre: Masculinity Studies
Medium: Paperback
Acquisition: IS Book 5
Date Completed: March 4, 2016
Rating: ****

First, I’ll just say that I really enjoyed the narratives offered by Kasson; Sandow, Houdini, and Burroughs are engaging representations of nineteenth-century popular culture, and the biographic attention to each was certainly entertaining. However, I hesitate to agree with the lavish praise Linda K. Kerber gives on the book’s cover.

John K. Kasson’s Houdini, Tarzan, and the Perfect Man explores the bodily construction of late-nineteenth century American masculinity, forwarding Kimmel’s readings of bodily control and construction and reading the performances of manhood in both the acts and flesh of three exemplary popular figures. The book purports to “help us understand more about how the shift to an advancing technological civilization was communicated to an apprehended by publics in North America and abroad. They tell us about how modernity was understood in terms of the body…” (19), but is more intimately concerned with the white male body in popular culture, and how manliness was constricted by others than just Roosevelet (moving beyond Bederman to the “Othered” class of Kimmelian self-made middle class men). Kasson’s text is either too short, or too long; extensive biographies could be trimmed to become a strong lecture, or the accounts could be more fully developed to link the reader’s gaze to the larger gestures made in the introduction to modernity and technology.

The chapters on Sandow, Houdini, and Tarzan each offer the stripped bodies of performing men to represent linear constructions of manhood in struggle – against self, against institutions, against biology and race. That two invite bodily contact – and even penetration/invasion – as assertions of their value raises interesting implications; that they likewise manipulate and make use of popular culture to forward their careers demonstrates a kind of masculinity which moves beyond strong white bodies.

In thinking of the popular culture of the strong white male body, I find myself connecting Sandow to freak shows, and Houdini as a anachronistic reminder of the entertaining deviant – the acceptable vigilante who upholds his own moral bounds and flirts with the destruction of institutions (jail breaking and mad-house escaping, and, ok, Batman – and I’ve just ordered The Devil’s Workshop).