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John Ruskin and the Victorian Woman Writer addresses the little-considered personal and literary relationships of John Ruskin and four major Victorian women writers: Elizabeth Barrett Browning, George Eliot, Elizabeth Gaskell, and Christina Rossetti. Drawing on new archival, primary research, the book provides detailed biographical contexts for each of these relationships before considering the interplay of each woman's writing with Ruskin's. Focusing on literature, art, economics, and gender, it offers close readings of a selection of each woman's oeuvre alongside Ruskin's prose to demonstrate the affinities and the moments of disagreement between Ruskin and these writers. Though primarily aimed at an academic audience, the book will also be of interest to general readers with a developed interest in nineteenth-century culture. It advances readers'understandings of the complex web of influence that existed between Ruskin and women writers in the 1850s and 1860s, establishing the opportunities that Ruskin's art theory offered women writers engaged with social questions and the apparent influence of these writers on Ruskin's own emerging political economy. By analysing women writers'responses to Ruskin's work—and his response to theirs—this book complicates and challenges assumptions about Ruskin's supposedly troubled relationship with women.

Simultaneously spiritual and material, liturgy incarnates unseen realities in concrete forms – bread, wine, water, the architectural arrangement of churches and temples. Nineteenth-century writers were fascinated with liturgy. In this book Joseph McQueen shows the ways in which Romantic and Victorian writers, from Wordsworth to Wilde, regardless of their own personal beliefs, made use of the power of the liturgy in their work. In modernity, according to recent theories of secularization, the natural opposes the supernatural, reason (or science) opposes faith, and the material opposes the spiritual. Yet many nineteenth-century writers are manifestly fascinated by how liturgy and ritual undo these typically modern divides in order to reinvest material reality with spiritual meaning, reimagine the human as malleable rather than mechanical, and enflesh otherwise abstract ethical commitments. McQueen upends the dominant view of this period as one of scepticism and secularisation, paving the way for surprising new avenues of research.