Criticism

Appendix 3: The Afterlife of Catherine Hayes

Submitted by Rebecca Nesvet on

Appendix 3: The Afterlife of Catherine Hayes

Despite her death at the end of Catherine, Catherine Hayes lived on, in a marginal way, in Thackeray's later works, even provoking a minor controversy by her appearance in the serialized version of Pendennis in 1850. Earlier she had made a brief, obscure appearance at the end of Vanity Fair, when the narrator recorded Becky Sharp's three lawyers as being Messrs. Burke, Thurtell, and Hayes, Burke and Thurtell being the names of two other notorious murderers.

2. Acknowledgements

Submitted by Rebecca Nesvet on
March, 2022

Acknowledgements

Thank you to Dino Felluga and Kenneth Crowell for bringing my edition of Catherine into the electronic era via Cove. I would also like to thank those who helped with earlier versions of this edition: Professor Ira B. Nadel, who supervised the Ph.D dissertation at the University of British Columbia, on which this edition is based, along with the other members of my dissertation committee, Dr. Herbert J. Rosengarten and the late Dr. William E. Fredeman.

Appendix: The London Miscellany, no. 1-18 (1866). Complete, bound copy.

Submitted by Rebecca Nesvet on
November, 2021

To read James Malcolm Rymer's A Mystery in Scarlet in its original publication context, accompanied by other contents of The London Miscellany no. 1-18 (1866), please see the bound copy of that periodical in the collection of the Wells Library, Indiana University, Bloomington, Indiana.  This copy lacks the series of four promotional color prints titled Rich and Poor and accompanying the serial of that name; these prints are accessible elsewhere in this COVE edition.

Adventures in Context & Curiosity: Annotating Crime Fiction with COVE

Submitted by Keaghan Turner on

The breadth of essays exploring the COVE toolset already testifies to the platform’s flexibility to enhance pedagogy both in-person and remotely. These essays have discussed COVE’s applications to poetry, the construction of geospatial timelines, and mounting virtual art exhibitions, as well as the cost-effectiveness and user-friendliness of the toolset. My experience extends to teaching fiction in interdisciplinary courses populated by a range of undergraduate majors that have been delivered by necessity in a hybrid format.

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