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CRITICAL ALLIANCES Economics and Feminism in English Women’S Writing, 1880–1914

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CRITICAL ALLIANCES Economics and Feminism in English Women’S Writing, 1880–1914 CRITICAL ALLIANCES Economics and Feminism in English Women’s Writing, 1880–1914 S. BROOKE CAMERON CRITICAL ALLIANCES: ECONOMICS AND FEMINISM IN ENGLISH WOMEN’S WRITING, 1880–1914 Critical Alliances: Economics and Feminism in English Women’s Writing, 1880–1914 S. BROOKE CAMERON UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press 2020 Toronto Buffalo London utorontopress.com Printed in Canada ISBN 978- -1 -6244 -5573 9 ISBN 978-1-4426-2561-7 (ePUB) ISBN 978-1-4426-2560-0 (PDF) _____________________________________________________________________ Library and Archives Canada Cataloguing in Publication Title: Critical alliances : economics and feminism in English women’s writing, 1880–1914 / S. Brooke Cameron. Names: Cameron, Brooke, 1976– author. Description: Includes bibliographical references and index. Identifiers: Canadiana 20190161213 | ISBN 9781442637559 (hardcover) Subjects: LCSH: English literature – Women authors – History and criticism. | LCSH: Women in literature. | LCSH: Sex role in literature. | LCSH: Feminism and literature – English-speaking countries – History – 19th century. | LCSH: Feminism and literature – English-speaking countries – History – 20th century. | LCSH: English literature – 19th century – History and criticism. | LCSH: English literature – 20th century – History and criticism. Classification: LCC PR119 .C36 2019 | DDC 820.9/3522 – dc23 _____________________________________________________________________ CC-BY-NC-ND This work is published subject to a Creative Commons Attribution Non-commercial No Derivative License. For permission to publish commercial versions please contact University of Tor onto Press. This book has been published with the help of a grant from the Federation for the Humanities and Social Sciences, through the Awards to Scholarly Publications Program, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council, an agency of the Government of Ontario. Funded by the Financé par le Government gouvernement of Canada du Canada Contents Acknowledgments vii Introduction 3 1 Educating New Women for Feminist Futures 34 2 Sisterly Kinship and the Modern Sexual Contract 67 3 Cosmopolitan Communities of Female Professionals 101 4 Women’s Artistic Connoisseurship and the Pleasures of a Lesbian Aesthetic 134 5 Virginia Woolf’s Post- Victorian Feminism 169 Coda: The Post- Victorian Legacy of Women’s Work 197 Notes 207 Bibliography 241 Index 271 Acknowledgments Critical Alliances grows out of my ongoing work on gender and femi- nist collaboration. In my early research I was interested in women’s use of economic models to theorize different conceptions of bodily bonds. Over the years, however, my study of feminist collaboration shifted to look at more concrete examples of women in the professions, per- haps not by accident as I navigated the academic job market. In many ways, then, Critical Alliances is a tribute to my own struggle to enter the profession – if not a tribute to all women still seeking gender equity in the modern labour force. It is my sincerest pleasure to offer a heartfelt thank- you to the many people who played a part in the composition of this book. Critical Alliances would not have been possible without the support of my advisors who shaped me into the academic I am today. To that end, I thank Chris Vanden Bossche, who helped me navigate the many challenges of the job market. I am grateful for his expertise on Victorian class, from which I draw here in my own study of middle-class wom- en’s economic agency and navigation of the gendered marketplace, and which has also since inspired my recent work on working-class women and slum reform in the nineteenth century. His boundless support and generosity made me into a better scholar and, I would like to think, a better mentor of my own graduate students. I would also like to extend special thanks to Barbara Green, who often served as a second advisor to me, especially in my work on Virginia Woolf. My interest in feminist communities can be traced back to our early conversations on gender and writing. Her continued encouragement of my research on femi- nism and sexuality over the years has meant the world to me. I am also indebted to my professors who set me on the path to a career in Victorian studies. Maud Ellmann and Sara Maurer made me into a better scholar and conscientious member of the academic community. viii Acknowledgments Kathy Psomiades was also a wonderful mentor to me, and her work has had a lasting influence upon my own research on fin- de- siècle aes- theticism and Victorian feminist literature. Susan Harris introduced me to gendered themes in nineteenth-century Irish writings, which played a part in my chapter on George Egerton. I would also like to express my gratitude to Greg Kucich for teaching me about feminist poets in the nineteenth century and for employing me as managing editor of Nineteenth- Century Contexts (2005–6), where I gained invaluable first- hand knowledge about writing for the profession. I was also fortunate to work for Glenn Hendler and Bruce Burgett as project assistant for the Keywords of American Cultural Studies. I also owe a special thanks to Chris Keep and Richard Dellamora for first inspiring my passion for nineteenth-century women’s writing. I am grateful to have been the recipient of an Edward F. Sorin Postdoctoral Fellowship and National Endowment for the Humanities summer fellowship in 2008 and 2009, respectively, when I began plan- ning my book project. As a participant in the NEH summer seminar “Decadent 1890s” at UCLA and the Williams Andrew Clark Memorial Library I worked with Joe Bristow, who helped me to rethink my case studies for examination. I am forever grateful to him for his enthusi- astic support of my research. During the seminar I also worked with Margaret Stetz, who had already helped me with my research on Michael Field and since inspired my work on George Egerton. She is a model of critical generosity. It is, perhaps, not surprising that in writing a book on feminist col- laboration I looked repeatedly for inspiration to my own community of female scholars and friends. I would like to thank Diana Maltz for serving as an informal advisor these many years. She read countless drafts of my prospectus and job materials, and I really do not think I would be where I am today were it not for her constant help and out- standing advice. I must also express my gratitude to Kristin Mahoney for her help with my book prospectus and for her encouragement regarding the job market. Lara Karpenko was a good friend and men- tor through school and, later, the job market and writing process. Lisa Hagar and Kate Kruger were both important influences on my discus- sion of George Egerton’s writings. I also thank Cynthia Quarrie for her friendship and help with Modernist war poetry. Heather Edwards was an ally during the job market years, and my appreciation for her advice on Irish fiction and New Woman writings cannot be overstated. Thank you to Emma Peacock and Laura Ludtke for the uplifting talks on the writing process as I neared completion of the manuscript and needed that extra push. Acknowledgments ix I must also extend my gratitude toward my colleagues whose com- munity oftentimes inspired my own thoughts on professional alli- ances. I thank Jason Camlot for giving me my first job with Concordia University’s Department of English. I thank the members of Dawson College’s English and Continuing Education Departments. And I am grateful to my many friends and colleagues in the Department of English Language and Literature here at Queen’s University. A special thanks must be extended to Shelley King, John Pierce, Maggie Berg, Heather Macfarlane, and Petra Fachinger. Their friendship and enthu- siasm for Critical Alliances often provided the fuel I needed to keep writ- ing. I am also grateful to Ellen Hawman for helping me to proofread the final manuscript. Research for Critical Alliances was completed at several libraries and with help from numerous librarians whose patience and innovative problem solving were a godsend to me at critical points in the proj- ect. I would like to thank the University of Notre Dame’s Hesburg Library, U.C.L.A. Library, Concordia University Library, and Queen’s University’s Stauffer Library and W.D Jordan Rare Books and Special Collections. I also visited several archives and rare books libraries while completing this project, including the British Library, the Women’s Library at the London School of Economics, and the William Andrews Clark Memorial Library. I have very much enjoyed working with the University of Toronto Press on the production of Critical Alliances. I thank Richard Ratzlaff for first showing interest in my project, and I am grateful to editor Mark Thompson for helping me prepare the manuscript to its comple- tion. I am tremendously grateful to associate managing editor Barbara Porter and copy editor Miriam Skey for their eagle eyes in catching those last-minute errors. And I am indebted to the three anonymous readers for the press whose thoughtful feedback helped make Critical Alliances into a better book. I can’t imagine having written Critical Alliances without the love and support of my family. My partner, Jamie, was always a willing sounding board for ideas, and as a result of our many conversations, became an unintentional expert on Victorian feminism (which is not a bad thing). I would like to thank my parents, Marie, Carl, Bob, and Barb for instill- ing in me a passion for education that has carried me through even the toughest of times. I must also acknowledge the important role of my fur-family in supporting this project.
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