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Molly Youngkin takes on a major literary problem of the turnofthecentury: Was the transition from the Victorian novel to the modern novel enabled by antirealist or realist narrative strategies? To answer this question, Youngkin analyzes book reviews that appeared in two prominent feminist periodicals circulated during the lateVictorian eraShafts and The Womans Herald.Through reviews of the works of important male and female authors of the decadeThomas Hardy, Sarah Grand, George Gissing, Mona Caird, George Meredith, Mnie Dowie, George Moore, and Henrietta Stannardthese periodicals developed a feminist realist aesthetic that drew on three aspects of womans agency (consciousness, spoken word, and action) and emphasized corresponding narrative strategies (internal perspective, dialogue, and description of characters actions). Still, these periodicals privileged consciousness over spoken word and action and, by doing so, encouraged authors to push the boundaries of traditional realism and anticipate the modernist aesthetic.By acknowledging the role of the womans press in the development of the novel, this book revises our understanding of the transition from Victorianism to modernism, which often is characterized as antirealist. LateVictorian authors working within the realist tradition also contributed to this transition, particularly through their engagement with feminist realism. Youngkin deftly illustrates this transition and in so doing proves that it cannot be attributed to antirealist narrative strategies alone.
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