A half-erased woman’s name is partially legible at the bottom of folio 41 verso of the Anglo-Saxon manuscript we now call the Vercelli Book. Edith – eadgiþ – provides mystery as highly unusual marginalia, an individual name added to and then erased from the manuscript. I argue here that the erased name eadgiþ is direct reference to St. Edith o…[Read more]

The figure of Hrothgar, aging king of the Danes, forces an analysis of the relationships among age, maleness, and masculinity in Beowulf. Masculine characters, while enacting the poem’s complex reciprocities and social transactions in the hall and on the battlefield, accrue status and power through assertions of control and dominance, through…[Read more]

The performances of Christ in the text of The Dream of the Rood construct a masculinity for Christ that is majestic, martial, and specifically heterosexual and that relies on a fragile opposition with a femininity defined as dominated Other in the figure of the Cross. His particularly constructed masculinity, explored rather than merely assumed or…[Read more]

This paper examines Margaret Atwood’s Oryx and Crake in relation to environmental justice. The best-selling first novel in Atwood’s Maddaddam Trilogy, Oryx and Crake was widely hailed for its nightmarish depiction of a post-apocalyptic, bioengineered future. The major themes of the novel mirror key themes of the environmental justice movement tod…[Read more]

An entry in the Women Medievalists and the Academy collection, this brief biography presents Cambridge historian Mary Bateson, scholar and suffragist, who lived on the cusp of the opportunity for academic professionalization for women. Her life illustrates an inspiring blend of serious scholarship, accessible publication, and devoted political…[Read more]

Traditional equation of women with the feminine and men with the masculine is disrupted when Beowulf is read within the rubric of gender performance as determined by Judith Butler in Gender Trouble and Bodies that Matter. Performativity enables a new way of interpreting the characters of Beowulf; specifically, in the world of the poem masculinity…[Read more]

Throughout the Christian era, literary and artistic representations of the Virgin Mary have been manipulated by a variety of ideologies, religious or political, to define the appropriate positioning and agency of the feminine in a culture. The culture of Anglo-Saxon England, like most others, almost always presented Mary in positive terms,…[Read more]

Like most female characters in Old English poetry, Judith from the Old English poem of the same name has been subject to much scrutiny in recent years. She has been read as a figure of Mother Church, or as a Germanic warrior, or as a warning against rape. Yet Judith’s relationship with her maid, the focus of my analysis of Judith, has been elided;…[Read more]

Feminist and gender scholars working in Anglo-Saxon studies in the past ten years have been asking new and important questions of a variety of Old English and Anglo-Latin texts. Most crucially, this interdisciplinary new work redefines the historiographical paradigms of Anglo-Saxon cultural production and reception so that women must now be…[Read more]

This article raises questions about the aesthetics of scale as they appear relative to genetically modified organisms in science fiction and especially in Paolo Bacigalupi’s The Windup Girl (2009). Bacigalupi makes the unusual choice of representing GMOs largely through science fictional tropes of automatism rather than the grotesque. Because of t…[Read more]

This essay considers Ralph Ellison’s Invisible Man (1952) from the standpoint of its influential depiction of African Americans as automata. Through Ellison’s other writings, including his review of Gunnar Myrdal’s An American Dilemma (1944) and his unpublished drafts of Invisible Man, the essay links the political concerns of the novel with…[Read more]

Reading the representation of New York City in J.D. Robb’s/Nora Roberts’s sci-fi detective romance In Death series via Andrew Karmen’s critique of the 1990s’ New York crime wave/crash narrative pushed by Giuiliani and Bratton’s “broken windows” policing.

What will it take to undomesticate the world—to begin to loosen humanity’s tight grasp on the planet’s spaces, structures, resources, and populations? Marie Darrieussecq’s short story “My Mother Told Me Monsters Do Not Exist” describes the intrusion of an unidentifiable creature into a fastidious woman’s apartment home, a modest but powerful scen…[Read more]