Sources for Law Review Articles on Francess Hodgson Burnett

View Search Summary Hide Terms in List Go To Specific List Item Result Options -------------------------------------------------------------------------------- Tag to Print 1 1. Saint Thomas Law Review Winter, 1998 AESTHETIC AMBITION VERSUS COMMERCIAL APPEAL: ADAPTING NOVELS TO FILM AND THE COPYRIGHT LAW Douglas Y'Barbo [FNa1] 10 STTLR 299 ...WOMEN (Columbia/Di Novi 1994). [FN413]. FRANCES HODGSON BARNETT, A LITTLE PRINCESS (1963); see also A LITTLE PRINCESS (Baltimore/Warner 1995). [FN414]. DICK KING-... -------------------------------------------------------------------------------- Tag to Print 2 2. Journal of the Copyright Society of the U.S.A. Fall 2003 Part I PETER PAN'S RIGHTS: "TO DIE WILL BE AN AWFULLY BIG ADVENTURE" Catherine Seville [FNa1] 51 JCPS 1 ...1888) which concerned the defendant's dramatisation of Frances Hodgson Burnett's highly successful novel Little Lord Fauntleroy. ... -------------------------------------------------------------------------------- Tag to Print 3 3. Columbia Journal of Law & the Arts Fall 2009 CHARLES READE'S ROLES IN THE DRAMA OF VICTORIAN DRAMATIC COPYRIGHT Barbara Lauriat [FNa1] 33 CLMJLA 1 ...works--one by Trollope and one by Frances Hodgson Burnett--without specific permission; and although he made ... -------------------------------------------------------------------------------- Tag to Print 4 4. Boston University Journal of Science and Technology Law Summer 2003 Note FAN FICTION, FANDOM, AND FANFARE: WHAT'S ALL THE FUSS? Meredith McCardle [FNa1] 9 BUJSTL 433 ...FN39]. Id. (noting Christina Rossetti and Frances Hodgson Burnett as being among writers who reworked Lewis ... -------------------------------------------------------------------------------- Tag to Print 5 5. Loyola of Los Angeles Law Review Fall 2002 Symposium JUDICIAL REVIEW OF COPYRIGHT TERM EXTENSION LEGISLATION Dennis S. Karjala [FNa1] 36 LYLALR 199 ...Frances Hodgson Burnett's The Secret Garden has also spawned a huge outpouring of new and creative derivative works. See Derivative Works Based on Frances Hodgson Burnett's ... -------------------------------------------------------------------------------- Tag to Print 6 6. Berkeley Technology Law Journal Symposium 2010 Symposium: Copyright@300 "THE SOLE RIGHT . . . SHALL RETURN TO THE AUTHORS" [FN1]: ANGLO-AMERICAN AUTHORS' REVERSION RIGHTS FROM THE STATUTE OF ANNE TO CONTEMPORARY U.S. COPYRIGHT Lionel Bently [FNd1] Jane C. Ginsburg [FNdd1] 25 BERKTLJ 1475 ...similar language. See, e.g., Contract between Frances Hodgson Burnett and Charles Scribner & Sons (Dec. 3, 1895) (... -------------------------------------------------------------------------------- Tag to Print 7 7. Texas Law Review June, 1991 Beyond Critique: Law, Culture, and the Politics of Form NORMS AND NARRATIVES: CAN JUDGES AVOID SERIOUS MORAL ERROR? Richard Delgado [FNa] Jean Stefancic [FNaa] 69 TXLR 1929 ...for Slander / You, the Jury / ------------------------------------------------------- Frances Hodgson Burnett / In Connection With the DeWilloughby Claim / ... -------------------------------------------------------------------------------- Tag to Print 8 8. Cardozo Law Review May, 1993 HATCHING THE EGG: A CHILD-CENTERED PERSPECTIVE ON PARENTS' RIGHTS Barbara Bennett Woodhouse [FNa1] 14 CDZLR 1747 ...a common theme of traditional tales like Frances Hodgson Burnett's Little Lord Fauntleroy (Dell Pub. 1986) (1886) (... -------------------------------------------------------------------------------- Tag to Print 9 9. Georgetown International Environmental Law Review 2007 Article BRITAIN'S RIGHT TO ROAM: REDEFINING THE LANDOWNER'S BUNDLE OF STICKS Jerry L. Anderson [FNa1] 19 GEOIELR 375 ...English children's book published in 1912 by Frances Hodgson Burnett, two neglected children use nature and exercise ... -------------------------------------------------------------------------------- Tag to Print 10 10. Yale Journal of Health Policy, Law & Ethics Winter 2011 Note ADDING LIFE TO THE ADOLESCENT'S YEARS, NOT SIMPLY YEARS TO THE ADOLESCENT'S LIFE: THE INTEGRATION OF THE INDIVIDUALIZED CARE PLANNING & COORDINATION MODEL AND A STATUTORY FALLBACK PROVISION Kimberly Gordy [FNa1] 11 YJHPLETH 169 ...for meaningful relationships"). [FN37]. See generally Frances Hodgson Burnett, The Secret Garden (1998) (1911). [FN38]. ... -------------------------------------------------------------------------------- Tag to Print 11 11. Journal of the Copyright Society of the U.S.A. Winter/Spring 2008 Part I: Article AUTHORS AS COPYRIGHT CAMPAIGNERS: MARK TWAIN'S LEGACY Catherine Seville [FNa1] 55 JCPS 283 ...starred so successfully in a version of Frances Hodgson Burnett's Little Lord Fauntleroy, but only on condition ... -------------------------------------------------------------------------------- Tag to Print 12 12. Cardozo Women's Law Journal 1998 Article THE PROBLEM THAT HAS NO NAME Omi [FNa1];self n. any part of the many false identities inflicted upon women under patriarchy; the internalized possessor that covers and re-covers the Original Self. [FN1];Self n. the Original core of one's Be-ing that cannot be contained within the State of Possession; living spirit/matter; the psyche that participates in Be-ing. [FN2];Daughter-Right n. the Right of a woman to Re-member her Original Integrity; the Right of every Daughter to proclaim her Divinity, to Name her Self, to Act as Nemesis, to right the reversals of 'divine sons,' to reclaim her place in the sun. [FN3];Naming original summoning of words for the Self, and ultimate reality; liberation by Wicked women of words from confinement in the sentences of the fathers; Truth- telling; the only adequate antidote for phallocracy's Biggest Lies; exorcism of patriarchal labels by invoking Other reality and by conjuring the Spirits of women and of all Wild natures; Re-calling the Race of Radiant Words. [FN4] 4 CDZWLJ 321 ...as Elizabeth Cady Stanton, Harriet Beecher Stowe, Frances Hodgson Burnett, Charlotte Perkins Gilman (later Stetson), and Carrie ... -------------------------------------------------------------------------------- Tag to Print 13 13. Law and Policy in International Business Fall, 1994 IF WE BUILD IT, WILL THEY COME?--THE NEED FOR A MULTILATERAL CONVENTION ON THE RECOGNITION AND ENFORCEMENT OF CIVIL MONETARY JUDGEMENTS Matthew H. Adler [FNa] 26 LPIB 79 ...Hodgson, 662 F.2d 862, 867-68 n.21 (D.C. Cir. 1981). [FN20]. Hilton, 159 U.S. at 205-06; see also Bishop & Burnette, supra note 18, at 432. [FN21]. Bishop & Burnette, ... -------------------------------------------------------------------------------- Tag to Print 14 14. Military Law Review Spring, 1982 Department of the Army Pamphlet 27-100-96 FINDING AIDS FOR THE ARMY LAWYER: A HISTORY OF THE JUDGE ADVOCATE GENERAL'S CORPS, 1775-1975 (1975) [FNa1] Major Percival D. Park [FNaa1] 96 MILLR 75 ...Burnett. Henry L., judge advocate ............................. 51. 54, 55 63. 67 Burns. Major. paymaster ....................................... 41 Burpee, Lucien Francis. ... -------------------------------------------------------------------------------- Tag to Print 15 15. National Black Law Journal 1997-1998 Articles NAMING THE UNHEARD OF Omi Leissner 15 NBLJ 109 ...Elizabeth Cady Stanton, Harriet Beecher Stowe, [FN28] Frances Hodgson Burnett, Charlotte Perkins Gilman (later Stetson). [FN29] ... -------------------------------------------------------------------------------- Tag to Print 16 16. Georgetown Law Journal April, 2006 Essay CONGESTION EXTERNALITIES AND EXTENDED COPYRIGHT PROTECTION Dennis S. Karjala [FNa1] 94 GEOLJ 1065 ...Life is the best known example, but Frances Hodgson Burnett's The Secret Garden also spawned a huge ... -------------------------------------------------------------------------------- Tag to Print 17 17. William & Mary Bill of Rights Journal April, 2003 Symposium: The Relationship Rights of Children WHICH TIES BIND? REDEFINING THE PARENT-CHILD RELATIONSHIP IN AN AGE OF GENETIC CERTAINTY June Carbone [FNa1] Naomi Cahn [FNa2] 11 WMMBRJ 1011 ...29, at 335. [FN31]. See, e.g., Frances Hodgson Burnett, Little Lord Fauntleroy (1886) (finding that the ... -------------------------------------------------------------------------------- Tag to Print 18 18. Seattle University Law Review Summer, 2002 WHATEVER HAPPENS TO WORKS DEFERRED?: REFLECTIONS ON THE ILL-GIVEN DEFERMENTS OF THE COPYRIGHT TERM EXTENSION ACT J. Michael Keyes [FNa1] 26 SEAULR 97 ...The Secret Garden, written by American novelist Frances Hodgson Burnett, experienced an "explosion of new book, film, ... -------------------------------------------------------------------------------- Tag to Print 19 19. Vanderbilt Journal of Transnational Law 1989 Note THE PUBLIC POLICY EXCEPTION TO THE RECOGNITION OF FOREIGN JUDGMENTS Jonathan H. Pittman 22 VNJTL 969 ...Burnette, supra note 3, at 435-36; von Mehren & Trautman, supra note 14, at 1660-62. [FN32]. See, e.g., Tahan v. Hodgson, ... -------------------------------------------------------------------------------- Tag to Print 20 20. Journal of Transnational Law & Policy Fall, 1999 Comment [FNaa1] STOP THE MADNESS! PROCEDURAL AND PRACTICAL DEFENSES TO AVOID INCONSISTENT CROSS-BORDER JUDGMENTS BETWEEN TEXAS AND MEXICO Lauretta Drake [FNa1] 9 JTLP 209 ...Hodgson, 662 F.2d 862, 864 (D.C. Cir. 1981) (acknowledging res judicata for foreign judgments rendered prior to domestic judgments); Bank of Montreal v. Kough, 612 F.2d 467, 472-73 (9th Cir. 1980); Sangiovanni Hernandez v. Dominicana de Aviacion, 556 ... -------------------------------------------------------------------------------- Next 20 Clear all | Clear 1-20

A Law Review Article about Jane Eyre; Some excerpts

30 Rutgers L.J. 597 Rutgers Law Journal Spring, 1999 Symposium: Fourth Annual Mid-Atlantic People of Color Legal Scholarship Conference Law and Literature: Examining the Limited Legal Imagination in the Traditional Legal Canon *597 THE BLACK WOMAN IN THE ATTIC: LAW, METAPHOR AND MADNESS IN JANE EYRE Michele Cammers Goodwin [FNa1] Copyright © 1999 by the Rutgers University School of Law, Camden; Michele Cammers Goodwin I. INTRODUCTION ........................................................ 598 II. RECLAIMING VOICE & CHALLENGING THE DISCOURSE: THE VALUE OF LAW & LITERATURE ........................................................ 610 A. Return to Law & Literature ....................................... 612 B. Law in Literature ................................................ 617 C. Judicial and Legislative Activism: A Novel Approach and Case Study on Anne Brontë ............................................. 619 1. Literature as Life ............................................ 620 2. Literature Prompts Reform ..................................... 622 D. Race, Feminism, and The Novel Approach ........................... 623 1. Gender Essentialism ........................................... 623 2. Race Essentialism ............................................. 625 3. Race & Gender Essentialism: The Dynamic Duo ................... 627 4. The Emergence of Silence ...................................... 628 III. CONTEXTUALIZING BRONTE'S WORLD: WOMEN IN THE VICTORIAN ERA .......... 629 A. Property, Women, and the Law ..................................... 629 1. Black Women as Property: An "Other" Story ..................... 629 2. Coverture: An Iniquitous Tale ................................. 633 B. Women and Education .............................................. 635 C. Sex, Passion, & Madness .......................................... 638 IV. POVERTY, LAW AND MADNESS, A STRANGE SYMBIOSIS: OR A BRIEF HISTORY ... 642 A. Due Process ...................................................... 642 B. Misdiagnosis ..................................................... 649 C. Labeling ......................................................... 651 D. Confinement ...................................................... 656 V. JANE EYRE: WHOSE STORY IS IT ANYWAY ................................. 658 A. A Critique of Feminist Interpretation ............................ 658 B. Two Women, One House, One Man: Jane & Bertha ..................... 662 C. No Recourse, No Due Process ... No Justice ....................... 667 1. Jane Eyre ..................................................... 667 2. Bertha ........................................................ 671 D. Homelessness and Poverty: The Helpless Jane ...................... 673 E. Stolen Wealth from Bertha ........................................ 675 F. Confinement ...................................................... 676 1. Domestic Confinement: Is There No Place Like Home? ............ 676 2. Institutional Confinement: Is It Really Better than Being on the Street? ....................................................... 678 VI. CONCLUSION .......................................................... 680 *598 I. INTRODUCTION While some of the history of the domain "law and literature" has been told, relatively little attention has been paid to the question of the canon-- of who is given voice, who cited, quoted and marginalized, ignored, submerged. Judith Resnik [FN1] I hardly expect that the reader will credit me, when I affirm that I lived in that little dismal hole, almost deprived of light and air, and with no space to move my limbs for nearly seven years. But it is a fact; and ... a sad one; for my body still suffers from the effects of that long imprisonment. Harriet Jacobs [FN2] *599 After attacking the sacred majesty of Kings, I shall not excite surprise by adding my firm persuasion that every profession, in which great subordination of rank constitutes its power, is highly injurious to morality. Mary Wollstonecraft [FN3] We let them in chains rot in their own excrement. Their fetters have eaten off the flesh of their bones, and their emaciated pale faces look expectantly toward their shallow graves which will end their misery and cover up our shamefulness. Reil (1803) [FN4] [T]he book is interesting--only I wish the characters would talk a little less like the heroes and heroines of police reports. George Eliot on Jane Eyre (1848) [FN5] Real-life drama found in news reports, legal cases, and police reports are potential sources for "gripping fiction." [FN6] The salacious details of public and private scandals can satisfy even the most insatiable gossip's appetite. It is thus understandable why most literary fiction (novels, short stories, novellas) reflect the social, psychological, and legal conundrums of a particular time. [FN7] Communities often indulge in its members publicized misery. This indulgence, albeit voyeuristic, can best be perceived as a search for truth and justice. Very often, understanding may be a by-product of that search. Indeed, the successful novel provides more than narratives; it challenges its audience to think and explore its subtle truths. Specifically, literature provides a forum for observing the human condition; it "trains *600 people in the reflection, consciousness, choice, and responsibility that make up the ability to engage in moral decisionmaking." [FN8] The purpose of this Article is to use literature to explore the intersection of madness, law, gender, and race during the Victorian era. This study uses Charlotte Brontë's Jane Eyre [FN9] to gain a greater understanding or appreciation for the social, legal, and political climates of the era and to place the treatment of women, people of color, and the mentally ill in the proper context. Although other novels written during the Victorian Era explore madness and its relative legal implications, Jane Eyre is particularly intriguing given its metaphors of slavery, poverty, racism, gender subordination, and even religious bigotry. The novel's relevance to the Victorian plight of women, from the female gaze, makes it a classic deserving our attention. Brontë, like a nineteenth-century Barbara Walters, develops an expose on adultery, false imprisonment, racial intolerance, and domestic violence. [FN10] Anita Allen, one of Jane's staunchest critics, nevertheless describes the novel as remarkable for its "psychological interiority," [FN11] commenting that legal scholars who recognize the complexity of this novel realize its historical value. Clouded racial issues, gender subordination, and madness loom throughout the novel, but achieve their climax and intersection during Jane's tenure as a governess under the watchful eye of her adulterous employer, Edward Rochester. *601 Ironically, these issues, arguably the most controversial aspects of her work, have eluded the novel's critics and proponents for more than a century. More than 150 years have passed since Charlotte Brontë pseudonymously published Jane Eyre in 1847 under the androgynous guise of Currer Bell. Acutely aware of gender subordination and unscrupulous reviews of women's literature, she consciously assumed a male identity. [FN12] Brontë acknowledged that she and her sisters challenged the roles and voices of women. While reflecting on the literary lives of her deceased siblings, she observed "our mode of writing and thinking was not what is called 'feminine."' [FN13] Indeed, honesty, passion, and defiance from women writers generated boundless criticism from both men and women. [FN14] Women during that era, explains Joan Perkin, were defined as intellectually inferior to men and presumed unsophisticated to the ways of the world. [FN15] It was unfitting and unbecoming for a woman to express ideas that, at the time, were considered vulgar, brutal, and evil. [FN16] Brontë once lamented, "I wish all *602 reviewers believed 'Currer Bell' to be a man; they would be more just to him. You will, I know, keep measuring me by some standard of what you deem becoming to my sex; where I am not what you consider graceful you will condemn me." [FN17] Through Jane Eyre, Bertha Mason Rochester, and other women who weave in and out of the novel, Brontë captured the intersection of law, literature, and life for women and girls in mid-nineteenth-century England. [FN18] Critics have long explored the similarities between the fictitious Jane and Charlotte. As Joan Perkin explains, Brontë's life mirrored that of her protagonist; both were educated at deplorable institutions, witnessed the psychological collapse of loved ones, and fell in love with married men. [FN19] "The [unsanitary] conditions at Lowood Asylum were based on a school for the daughters of the clergy at Cowan Bridge in Lancashire, [where] two of [her] sisters died after contracting tuberculosis." [FN20] The frightening howls of Bertha Mason Rochester are reminiscent of Charlotte's younger brother's fits of delirium tremens. [FN21] Under Charlotte's gaze, Branwell Brontë succumbed to debauchery, alcohol, and drug addiction, and eventually, insanity. [FN22] Charlotte's confused emotions and embarrassment surrounding her brother's demise may have influenced Jane's less than sensitive reaction to Bertha. Readers--jurors of the text--bear witness to law's engagement with complex social issues in the novel. Brontë provided her readers with an open window to the social, economic, and political landscape of the Victorian era, unveiling the psychological misogyny curtained behind liberal positivism, insensitive traditions, and iniquitous laws. [FN23] Here, Brontë's passionate plea for justice highlights the plight of Victorian women: *603 Women are supposed to be very calm generally; but women feel just as men feel; they need to exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint ... precisely as men would suffer; and it is narrow-minded ... to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex. [FN24] Brontë stimulated contemporary discourse on gender subordination, homelessness, racism, confinement, the wanton treatment of wards in institutions, adultery, and mental illness. [FN25] Social reality drives the text, situating women, wards, and the mad in context with Victorian attitudes and beliefs. Darkness pervades the novel, making the prose, for the attentive reader, more than a simple romantic journey. [FN26] Those who see the novel as only romantic fiction overlook the psychological enigmas and struggles between Divine and positivist law erupting throughout the book. [FN27] Legal, social, political, and cultural issues resonate throughout the narrative, attracting the attention of psychiatrists, sociologists, and legal practitioners. [FN28] *604 The novel's universal appeal derives from its ability to transcend cultural boundaries. [FN29] For its women readers, the novel holds special appeal. The plight of the sagacious young orphan evokes sympathy among many; her loneliness, disconnection from family, feelings of abandonment, and fight against male dominance touch a cord with female readers. Unlike the submissive, wealthy, and beautiful Victorian heroine, Jane described herself as plain, friendless, outspoken, and poor. [FN30] She could be anyone's daughter, sister, cousin, or friend. Perhaps, for this reason the novel is frequently revisited. On Angela Carter's rereading of Jane Eyre as an adult, she remarked, "[O]ne wants the world to be kind, not to Jane, but to the girl who invented Jane, and, in doing so, set out so vividly her hopes and fears and longings on the page." [FN31] Jane's hopes and fears are universally applicable to the contemporary female condition. Desiring an education, respect, equitable compensation, and love-- without compromising one's values [FN32]--is an aspiration for all *605 women. Readers admire Jane's tenacity and courage. [FN33] She "was strong enough to search-inquire-to grope an outlet," [FN34] and triumph over nineteenth-century essentialism. For Linda Hirshman, Jane's refusal to internalize abuse and subordination renders her an ever-powerful symbol of strength for all women. However, feminist critics of the novel deconstruct the classical Jane Eyre: The Cinderella motif. They challenge the Victorian discourse where liberal positivism reminds us that good conquers evil, hard work overcomes poverty, and obedience to God and State secures heaven and earth-bound peace. [FN35] In essence, they question Jane's strict adherence to normative values--or male authority--which allows her to transcend poverty and attain financial and emotional gratification before death. They direct our attention to the fact that Jane's "true success"--marriage, family, and established wealth--occurs only after compliance or submission to natural and positive law. [FN36] In their view, Jane relinquishes autonomy and self-*606 respect, and concedes to male authority. Thus, when Jane sacrifices her independence for the ghostly calls of her adulterous ex-lover, she has given up the fight: [FN37] "I saw nothing: but I heard a voice somewhere cry--'Jane! Jane! Jane!' nothing more .... And it was the voice of a human being--a known, loved, well-remembered voice--that of Edward Fairfax Rochester; and it spoke in pain and woe wildly, eerily, urgently." [FN38] Without knowledge to the contrary, Jane flees home, friends, and gainful employment for the mendacious married man that she left the year before. [FN39] Critics conclude that the novel holds little value for contemporary feminist critique: "[A] consoling novel is not necessarily an effective antidote to liberal patriarchy." [FN40] Undeniably, Jane's contradictory behavior stirs confusion amongst the novel's critics and supporters. Vehement arguments wage amongst feminists torn between interpreting Jane as being part of the gender subordination problem or part of the liberation solution. Accordingly, Linda Hirshman [FN41] emphatically rejects Anita Allen's interpretation of Jane as an Austenian, "habitually obedient to the tyranny," "privileged," and "bourgeois." [FN42] In a commentary on Allen's article, Hirshman passionately asserts that Jane rejects the moral unity of English positivism. According to Hirshman, Jane "is a persistent rebel." [FN43] However, Allen's observation that "Jane seemed to be a privileged, bourgeois, white Englishwoman with an admittedly miserable childhood who complains about women's inequality and poverty but does nothing about either," [FN44] strikes a stinging blow to many feminist Jane Eyre admirers. Surely, both scholars, each self-described feminists, interpret the novel from their own socio-economic, cultural, racial and political points of view. [FN45] This is not illogical. However, if it is the case that *607 scholars will cling to images familiar to them, who then, will claim Bertha Mason, the rejected, perhaps insane, black woman in the attic? [FN46] Sadly, madness has the effect of leaving one friendless and without allies in spite of gender and racial ties. Most Jane Eyre scholars overlook the intersection of race, gender, and mental illness in the novel. Their oversight is particularly surprising with regard to the black woman in the attic. The implications of this intersection have contemporary as well as historic import; [FN47] scholarly neglect reflects a larger social disengagement with issues affecting women labeled mentally ill [FN48]--particularly those of color. [FN49] A diagnosis of "culturally unfit" or *608 "socially inadequate" in qualities and character often justified psychiatric and legal intervention in the lives of sane women. [FN50] At the turn of the century, in an era presumed to be more equitable than the previous, women of color were targets of eugenic experimentation, involuntary and court-sanctioned sterilization, and psychiatric misdiagnosis. [FN51] An unresolved silence encapsulates this largely untold and unacknowledged tragic history. While perhaps a point of shame and embarrassment for both the legal and medical communities, these stories merit acknowledgment and discussion. This "dark age" in our history warrants investigation. Jane Ussher, on deconstructing madness and sexual identity, attributes racism and xenophobia as the cause of over-identifying and labeling women of color as "mad." [FN52] She notes that "diagnosis of madness acts as a means of dismissing behavior," and "controlling" what is right or normal in a society. [FN53] Consequently, women can be labeled and treated as "mad" for failure to observe and conform to the myth of femininity. Further, women of color or immigrants can be labeled "mad" for failure to assimilate or become "a part of their host culture." [FN54] Brontë, intentionally or not, reveals the combined complexity of race, gender, and madness. A cruel, self-centered husband such as Edward Rochester might have caged a white wife in the attic [FN55] although he assures *609 Jane of the contrary. [FN56] His malevolence, vile descriptions of his wife, and constant references to Bertha Mason Rochester's color, size, hair texture, intellect and his vain desire for "antipodes of the Creole" continually remind us that race is an issue for him. [FN57] In fact, he passionately confides to Jane "it is not because she is mad I hate her. If you were mad, do you think I should hate you?" [FN58] Arguably, Rochester would not lock Jane in the foreboding attic with an alcoholic servant as companion, guard, and nurse as he did with his black wife. [FN59] I should not shrink from you with disgust as I did from her: in your quiet moments you should have no watcher and no nurse but me; and I could hang over you with untiring tenderness, though you gave me no smile in return; and never weary of gazing into your eyes, though they had no longer a ray of recognition for me. [FN60] Here, Rochester discloses views not inconsistent with popular culture. This passage reflects Victorian attitudes on race, gender, and mental illness. As for the victims of this dark age, their muted voices, having long been overlooked and disregarded, may be audible in literature--if we choose to listen. This Article uses law and literature as a convenient tool to investigate and explicate the intersection of madness, law, gender and race during the Victorian era. Madness, a multifarious theme in the novel, reveals itself as motive, metaphor, and motif. This study of the novel is concerned with three aspects of madness and the law treated in Jane Eyre: the legal rights of mad women; diagnosis and treatment; and poverty and homelessness. It also challenges feminist interpretations of the novel, interrogating the over-identification with Jane as victim while overlooking the black woman in the attic. *610 Part II of this Article defends the value of using literature to gain a greater insight to legal and social issues. Part III places the novel in context with the Victorian era by examining prevailing laws, principles, and attitudes on race, gender, sexuality, and madness. Part IV analyzes the historical symbiosis between law, poverty, and madness, which backdrops the novel; it also briefly examines the ramifications of a traditionally misogynistic psychiatric process. Its four primary foci are due process, diagnosis, labeling, and confinement. Part V deconstructs the novel in context with that psychological process, critiquing feminist interpretation of the novel and analyzing the implications of legal and psychiatric misogyny in the lives of Jane Eyre and Bertha Mason Rochester. It explicates the complex symbiosis between poverty and madness in the novel.

An Apologia for Countess Erzebet Bathory: Six Short of 1000

An Apologia for Countess Erzebet Bathory: Six Short of 1000: Thank you; we are six short of 1000 viewers! The Erzebet novel is going well; there is also a children's version of her story, which I illu...

A Pymian Dinner

We had a Pymian dinner tonight, what she would call a maccaroni cheese, only ours had broccoli. It is a hot, quiet evening, but the humidity has gone down. We are a drought, as we haven't for the last nine years. I have been reading about gardens, particularly those Rumer Godden writes about in her childrens and adult novels. In one of her autobiograhies, she talks of every garden she has ever had all over the world. Sister Philippa of Black Narcissus must be a kindred spirit; she plans elaborate gardens in the Himalayas, and is an expert in seed catalogs. In The Greengage Summer she writes of gardens done in three parts, from lawns, to gravel paths with old statues, to orchards of plums. There are miniature gardens and flower boxes in A Dolls House and Miss Happiness and Miss Flower, and these Godden reconstructed in real life. In her meticulous detail of gardens and miniatures, she reminds me of Pym, who in turn reminds me sometimes of the Miniature mysteries by our friend Margaret Grace. I am working on my Erzebet novel, and though the arthritis makes typing hurt, I can't seem to stop, and think about the characters all day. I took a good look at myself and my life today, and decided I felt more like Shilrey Jackson herself than a Pym heroine. Thanks to Kristen Ramsdell who called my book enjoyable and thought provoking in the second ed. of Happily Everafter. I am always pleased to be cited, and have been in several books on women's writing sold on Amazon. I have an Authors Page there now for anyone who is interested. Also reading The Belle of Amherst, where a recipe for Dickinson's Black Cake, involving 19 eggs is given, and where she talks of Emily Bronte, and says what a great day they had in heaven when Emily Bronte arrived there.

Borroughs Publishing E-newsletter

Boroughs Publishing Group E-Newsletter - July 2012 From: Boroughs Publishing Group info@boroughspublishinggroup.com To: etsag1998 Date: Thu, Jul 19, 2012 10:20 am Like Us Follow Us Forward to a friend Visit our web site for more. July 2012 > bpg news > boroughs about town > e-musements > voices Having trouble viewing this email? View it in a browser. Boroughs Publishing Group News @ FIRST SIGHT Our Romance Short Story Contest The SEMI-FINALS have begun. Visit our website and read each story’s first page along with the title and pitch. Voting closes at midnight Pacific Time July 22nd. After our editors weigh in and we’ve tabulated the votes, we move on to… THE FINALS: On July 24, 2012, the first three pages of finalist’s stories will be posted for voting. The announcement of the winner of the @ FIRST SIGHT contest will be made at 5:45 p.m., Friday, July 27, 2012, at our Publisher Open House at the RWA convention in Anaheim, California, and the results will be Tweeted and publicized on our website. TO VOTE Support these wonderful authors. You and everyone you know should visit www.boroughspublishinggroup.com, find the link to the @ First Sight contest, then cast your votes for stories that tickle your fancy and make you want more. You may vote for every story you like. PRIZES ALL FINALISTS will be offered: •A contract to have their story published and sold by Boroughs Publishing Group •A full editorial process to make their story shine THE FINALIST with the most popular website votes will be offered: •A critique by an editor of a full-length manuscript submission to Boroughs, with a turn-around time of two weeks THE WINNER, chosen from our FINALISTS by our editorial staff, will receive: •cover art specifically tailored to the story •A critique by our Editor-in-Chief of a full-length manuscript submission to Boroughs, with a turn-around time of two weeks •75% of the winning story’s net royalties Boroughs About Town (& Country) In Anaheim The Romance Writers of America national convention will be held this year in California, at the Anaheim Marriott, July 25th - 28th You’ll find many of our authors at the Literacy Signing in the Anaheim Convention Center on Wednesday, July 25th from 5 p.m. – 8 p.m. RWA remains the best single resource for aspiring romance writers, bringing together authors, editors and all types of publishing professionals. For information about the conference, go to: http://www.rwa.org/cs/conferences_and_events. For information about RWA or a chapter near you, visit: http://www.rwa.org/cs/about_rwa. In Cyberspace For those of you not attending the RWA conference, we invite you to join us at Romance Divas 2012 Not Going to Conference Conference (NGTCC) that takes place July 25th-28th. NGTCC is a virtual conference held on a private forum/discussion board. Boroughs will have a spotlight at NGTCC and we’ll be taking virtual pitches from noon on Friday, July 27th until noon on Saturday, July 28th. We look forward to seeing you at http://romancedivas.com. E-Musements A short monthly piece to show what's happening in the editor-in-chief's brain...and in his office. Besides reading. Lots of reading. It’s Conference Time! What are you doing with your summer? We hope you’re out by a pool, reading your favorite authors. There’s no better time for rest and relaxation than when it’s hot out, and the steamier your reading material, the quicker you’re ready to take a dip. I’m doing a fair bit of reading, myself, though I’m not near water. But this is my job, and one of my year’s highlights is quickly approaching. I’m headed to Anaheim. Romance Writers of America has its national convention every July, and if you haven’t yet checked them out, you likely should. The organization is newbie-friendly and one of the best resources for would-be authors and those with careers on the rise. I’m headed to the con, looking for the next star for Boroughs. What’s great about RWA National? If you added up all the years of experience from all the attendees, you’d probably have more books than the Library of Congress. (Well, maybe not. The LoC has around 152 million, and I don’t want to admit to being that old yet.) Wandering around to hear keynotes and symposia and workshops by the industry’s pundits is well-worth your time, especially at the start of your career. What can be more energizing than hearing tales of success from the people whose work you love? I still remember Sherrilyn Kenyon’s saga, and the hardships she faced. She was an inspiration, and so are many of the other authors struggling to make their voices heard. Hearing what publishers are currently seeking is extremely useful, too, if you have a project near completion that fits the bill. And keeping abreast of industry news is always useful, at the very least to know what you can change and what you can’t. Now, here’s what to avoid. It’s tempting to expect easy answers from these fonts of wisdom that circle the hotel. It’s human nature to desire simplicity and a clear path. “Tell me what to write.” “Tell me what will sell.” “Tell me exactly how I can avoid all the missteps and write a bestseller right from the get-go.” As if it were that easy. Most advice comes from a very specific point of view, and the appropriate POV for your situation switches as much as a first-time author’s narrative. Publishers know what’s selling now, or in last month’s sales reports, and many chase the trend. Authors know what they wrote, because that’s what made them tick; it won’t necessarily drive you. And then there will be those veterans fighting yesterday’s wars, telling you how things aren’t as good as they used to be or that the problems outweigh the opportunities. If you listen to them, you might as well give up now, because this industry of ours is only going to keep changing. You might as well listen to your critique partner who says, “Nobody will ever buy a book about BDSM. It’s just not mainstream.” But you wouldn’t do that. The people working at and coming to Boroughs, we realize this is a time of golden opportunity, a time to hear and be heard. So, go. Learn. Be inspired. If you know the rules, you can break them. But don’t write for yesterday. Our rules are being broken fast and furious, so don’t get too caught up. Just write from the heart, because true emotion will never go out of date. And if all of this industry stuff sounds too daunting…just go read a favorite book by the pool. There’s plenty to be learned by that, too. Voices Where you get to hear the people who make publishing–and Boroughs especially–what it is. Shirley Ann Wilder I dream a lot of my novels. Literally. Though I haven’t published them all. My love for the written word apparently started before I went to school. I was the youngest of six children, and my brother, three years older than I, struggled a bit when he entered first grade. The teacher sent home books for him to practice reading, and I was evidently fascinated by the idea that those funny-looking marks actually meant something. I nagged everyone in the family to tell me: “What’s this word?” “What’s this say?” By the time I started kindergarten, I already knew quite a bit. In those days, children under five years old could ride the bus for free, and because I was short Mother figured she could save a nickel. Imagine her chagrin when passed me off as under five, I took my seat and proceeded to read all the ads posted inside the bus! Even as a small child I knew I was somehow different, and elementary school was less than a positive experience. My parents separated, and my mother became the sole support of the four children still at home. My escape was the school library. They had so many books, and I could read them for free. I especially loved Walter Farley’s series with the Black Stallion. In my fantasy world, I was the kid riding the Black Stallion, and I was the person who rescued My Friend Flicka. My love for horses was almost as deep as my love for books. I began writing stories on the inside of brown paper grocery bags, complete with illustrations, but I couldn’t understand why no one could read them properly. Then my mother pointed out that, when you begin a new sentence, you have to start it from the left side of the paper every time. I had written from left to right and then from right to left, and so on and so on. It still makes sense to me. Think of all the time you could save! When I was eight I convinced my neighborhood pals that we should all write books and sell them to make money to finance our Kool-Aid stand. I ended up writing their books as well as mine, which I pretty much plagiarized from a library book. Of course, our only buyers were parents, so little harm was done. I sold my book to my mother for five cents—the bus fare I’d saved her! After she died, when my sisters and I were getting her house ready to put on the market, I came across a box of photos and keepsakes. In the box was my book, The Talking Toys. My mother had saved it all those years. I doubt that anything I have written since or will write in the future will have the same impact. In high school I wrote poems. They were a lot shorter and didn’t require a plot. Some were about dreamy boys who didn’t give me a second look. Some were about wild horses that roamed the prairies, and later, after I was married, I wrote poems about my children. I went through short periods where I didn’t write at all. Being a mom, a den mother, a Bluebird leader, a backyard swim instructor and on the PTA board took almost all of my time. But I never could quit completely. I found I couldn’t NOT write. I finally got serious about writing after joining Romance Writers of America. It opened a door that I hadn’t known existed, though the knowledge wasn’t immediately happy. I went to my first conference and came home a bit dejected. I had thought I was the only one who really wanted to publish a book! I don’t know where I’d got that idea, but seeing over 2,000 people with the same dream as mine set me back a bit. This writing thing was not going to be so easy. It was going to be even harder because I write less from an outline than from intuition. I become every character in my books. When they get cut, I‘m the one who bleeds. And yet…all that bleeding has paid off. While writing is the hardest thing in the world, it’s also rewarding. I recently sold my novel, Too Many Cooks, to Boroughs Publishing Group, and it’s out now! It came from a recurring dream I had for several nights in a row. I think I was on one of my endless diets, and food was on my mind a lot. But, the story worked. I hope you think so too. So, for all you struggling authors out there, don’t give up your dreams. Write them down!

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If all predictions are wrong, and the world goes on after Dec. 2012, it will soon by Pym's 100th birtday. I wonder what the Society will plan to celebrate? Perhaps something lowkey that resonates. After all, she wrote in epic times of small things and familiar events, reassuring all of us that life does inndeed go on She wrote during Depression, and World War, Cold War, Indochinese Wars, Inflations, Soviet Detente, Women's Liberation, The Summer of Love, and Civil Rights movements. Keenly interested in history and current events, curious about everything, se quietly sowed uos her role inhistory, as one of the first women at Oxford, as a WREN. Yet, Pym infiltrates one's life; seh gets in your blood. I think of er when I pick up my knitting needles. I think of her jumpers when it is cool out, and when I squeeze lemon into my iced tea. I think of when when I read Bronte and Austen, and when I cook macaroni and cheese [macaroni cheese to her] and baked beans. As a friend of mine used to say, she made you crave hard boiled eggs. Yet, there was nothing hardboiled about her, well, maybe some of her characters. I always thought Prudence and Leonora Eyre were more than a little scheming. She made everyday life an art long before Martha Stewart or anyone else. She made us glad for ordinary things and real domestic tranquiltiy. My cat Emma is snoozing with me as I write, and i smile, thinking of Pym and her love of cats. Great events are born of small ones, and every life is valuable, and each is moourned when lost. Pym made us remember these things. My keyboard drops "h's" and will soon be replaced. Good Night.

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