From early on in Lindner’s hypertext, Jane makes a clear distinction between herself and other young women—chiefly through appearances. “I didn’t expend a lot of effort on my looks,” Jane muses. “I liked to think I had better things to do with my time than shop for lip gloss and clothes. In fact, I didn’t think about my appearance much, usually” (Lindner 18). Despite this claim, Jane is constantly weighing her appearance against those of the women around her.

When Jane Eyre travels to Lowood, she chooses, stubbornly, to stop eating. This decision (though of course linked to her depression) is a clear act of resistance within a setting where Jane does not have much autonomy; her refusal to eat for these first few days indicates that Jane has found an outlet for expression separate from her mode of speaking out, which is sure to result in swift punishment. In The Flight of Gemma Hardy, the titular character undergoes a similar act of resistance following a traumatic experience.

Throughout Margot Livesey's "The Flight of Gemma Hardy," the figure of Sulis is evoked repeatedly. In the first instance, Gemma is reflecting on the stories her uncle used to tell her. One such story involved the goddess Sulis, whose followers "used to throw lead tablets into the water inscribed with requests for children or good harvests, or sometimes curses" (Livesey 27). Afterwards, the young Gemma admits that the "idea that just by saying certain words you could harm someone fascinated [her]" (Livesey 28). The next time Sulis appears is on page 91, during one of Mr.