Arguing that the female criminal subject was central to the rise of the British novel, Kirsten T. Saxton provides fresh and convincing insights into the deeply complex ways in which categories of criminality, gender, and fiction intersected in the long eighteenth century. She offers the figure of the murderess as evidence of the constitutive relationship between eighteenth-century legal and fictional texts, comparing non-fiction representations of homicidal women in biographies of Newgate Ordinaries and in trial reports with those in the early novels of Aphra Behn, Delariviere Manley, Daniel Defoe, and Henry Fielding. As Saxton demonstrates that legal narratives informed the budding genre of the novel and fictional texts shaped the development of legal narratives, her study of deadly plots becomes a feminist intervention in scholarship on the literature of crime that simultaneously insists on the centrality of crime literature in feminist histories of the novel. Her epilogue shows that more than two centuries later, we still contend with displays of female violence that defy and define our notions of textual and sexual license and continue to shape legal and literary mandates, even as the lines between the real and the fictive remain blurred.
The most prolific woman writer of the eighteenth century, Eliza Haywood (1693-1756?) was a key player in the history of the English novel. Along with her contemporary Defoe, she did more than any other writer to create a market for fiction prior to the emergence of Richardson, Fielding, and Smollett. Also one of Augustan England's most popular authors, Haywood came to fame in 1719 with the publication of her first novel, Love in Excess. In addition to writing fiction, she was a playwright, translator, bookseller, actress, theater critic, and editor of The Female Spectator , the first English periodical written by women for women. Though tremendously popular, her novels and plays from the 1720s and 30s scandalized the reading public with explicit portrayals of female sexuality and led others to call her "the Great Arbitress of Passion." Essays in this collection explore themes such as the connections between Haywood's early and late work, her experiments with the form of the novel, her involvement in party politics, her use of myth and plot devices, and her intense interest in the imbalance of power between men and women. Distinguished scholars such as Paula Backschieder, Felicity Nussbaum, and John Richetti approach Haywood from a number of theoretical and topical positions, leading the way in a crucial reexamination of her work. The Passionate Fictions of Eliza Haywood examines the formal and ideological complexities of her prose and demonstrates how Haywood's texts deft traditional schematization.
Arguing that the female criminal subject was central to the rise of the British novel, Kirsten T. Saxton provides fresh and convincing insights into the deeply complex ways in which categories of criminality, gender, and fiction intersected in the long eighteenth century. She offers the figure of the murderess as evidence of the constitutive relationship between eighteenth-century legal and fictional texts, comparing non-fiction representations of homicidal women in biographies of Newgate Ordinaries and in trial reports with those in the early novels of Aphra Behn, Delariviere Manley, Daniel Defoe, and Henry Fielding. As Saxton demonstrates that legal narratives informed the budding genre of the novel and fictional texts shaped the development of legal narratives, her study of deadly plots becomes a feminist intervention in scholarship on the literature of crime that simultaneously insists on the centrality of crime literature in feminist histories of the novel. Her epilogue shows that more than two centuries later, we still contend with displays of female violence that defy and define our notions of textual and sexual license and continue to shape legal and literary mandates, even as the lines between the real and the fictive remain blurred.
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