European Romantic Review 

Abstract: (1995). Reviving the Sonnet: Women romantic poets and the sonnet claim. European Romantic Review: Vol. 6, John Keats 1795–1995, pp. 98-127.

Abstract: The Minerva Press is being written back into Romantic-era literary history, both for its impact on the novel market and for the “Romantic” tropes (e.g. genius, transcendence) that its unprecedented output of novels – many by new women authors – inspired. The novels themselves, which are usually dismissed as derivative, hover at the margins of literary history. This dismissal obscures the fact that Minerva novels were published prior to modern divisions between high and low literature. A discussion of four Minerva novels suggests that novelists drew on Romantic projections of poetic genius as well as anxieties about profligate print culture to develop their own model of collective authorship. Marginalized novelists connected with each other over space and time via the circulating-library novel. Popular tropes and fashionable terms also provided marginalized authors with the language to contribute to pressing conversations – most importantly, Romantic reassessments of authorship and literature. Novelists’ c...

Abstract: (2001). Editor's introduction: Byron and disability. European Romantic Review: Vol. 12, No. 3, pp. 247-248.

Abstract: I will argue that Byron had a disruptive effect on political economy in the nineteenth century, an effect that is all too easily forgotten after poetry's utter marginalization in the twentieth century. Could it be, in fact, that this eventual marginalization is not only due to the rise of the novel and the mass market but society's active response to a perceived threat in poetry's critique of the emergent social order? As Jerome Christensen has recently argued in Lord Byron's Strength, \"Not Caesarian thunder makes Lord Byron dangerous but a symbolic mobility that confounds reference and generates a field of confrontation\" (21). Through the especially remarkable contradictions, of his own multiple subject positions (aristocrat, Whig, radical; English, Scottish, expatriot; heterosexual, homosexual, \"incestual\"), Byron underlines the fact that any individual in a capitalist system is similarly constituted by a plurality of subject positions and ideological investments and is, therefore, irreducible to any reductionist notion of class or commodity. It is Byron's position in between systems that allows his work to speak not just to one class but to a panoply of individuals from different classes and positions — individuals united by a shared antagonism to aspects of the contemporary social order.