Gender Studies

The Were-Wolf

Submitted by Lorraine Janzen... on

"The Cry of the Children" (1843) by Elizabeth Barrett Browning

Submitted by Joshua King on

This is the first omnibus scholarly edition of Elizabeth Barrett Browning's (then Elizabeth Barrett Barrett) protest poem "The Cry of the Children" (1843), as it was published in Blackwood's Magazine.  The editors and annotators have built on sustained scholarly engagement about the poem, its contexts, and its relationship with laboring-class poetry of the time.  This was initiated by their cooperation for "Rhyme and Reform: Victorian Working-Class Poets and Elizabeth Barrett Browning's 'Cry of the Children.'"  This two-day, international, multi-site symposium (Oct.

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A Mystery in Scarlet: Editorial Introduction

Submitted by Rebecca Nesvet on

Robert Louis Stevenson (1850-94), celebrated author of Treasure Island  (1882-3), Kidnapped (1886), and "The Strange Case of Dr. Jekyll and Mr. Hyde" (1886), was a lifelong connoisseur of "penny dreadfuls," or illustrated serial fiction that targeted working-class readers. In his childhood, his nurse Alison Cunningham often read penny fiction to him. In adulthood, he was haunted by one penny title in particular: A Mystery in Scarlet, by “Malcolm J.

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A Mystery in Scarlet

Submitted by Rebecca Nesvet on

Robert Louis Stevenson cherished the 1866 penny dreadful A Mystery in Scarlet, written by his "genuine influence" Malcolm J. Errym, the pseudonym of "Sweeney Todd" creator James Malcolm Rymer (1814-84) and illustrated by the celebrated "Phiz" (Hablot K. Browne, 1815-82).

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The Were-Wolf

Submitted by Lorraine Janzen... on

Clemence Housman invented her gothic story to entertain the women in her wood-engraving class in London in 1884. She first published "The Were-Wolf" in the 1890 Christmas number of Atalanta, where it was illustrated by Everard Hopkins. In 1896 she collaborated with her brother, Laurence Housman, to produce an illustrated edition of The Were-Wolf for John Lane at The Bodley Head. In addition to authoring the text, Clemence Housman wood-engraved the 6 illustrations, decorated title page, and illuminated initial designed by her brother, Laurence Housman.

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