… nearly all Emily Brontë’s biographers and scholars over the past century have been women. If you do spot a man in the mix, chances are that he has been shuffled off to the side, rather like , though hopefully without the urge to get drunk and set fire to himself. The only other author who has become the object of such an intense female pash in the last 200 years is Sylvia Plath, who happens to be buried less than 10 miles away from at . The parallels are uncanny. Separated by a century, both Brontë and Plath were poets who remain most famous for writing a single intensely autobiographical novel. There’s even a pleasing bit of intertextuality in the way that in 1956 Sylvia Plath actually managed to marry in the form of her own glowering man-of-the-moors, . Together the newlyweds tramped up to and wrote poems about it, an event that Hughes was still mulling over 40 years later in his valedictory . Both Plath and Brontë died at the age of 30 and then only gradually started to attract the cult-like devotion of female fans, who responded rapturously to their heroines’ status as exiles from the twin kingdoms of heteronormative happiness and literary fame.

Both these men are in love with Natasha, Count Rostov's younger daughter, and in her Tolstoy has created the most delightful girl in fiction. Nothing is so difficult as to portray a young girl who is at once charming and interesting. Generally the young girls of fiction are colorless (Amelia in Vanity Fair), priggish (Fanny in Mansfield Park), too clever by half (Constantia Durham in The Egoist), or little geese (Dora in David Copperfield), silly flirts or innocent beyound belief. It is understandable that they should be an awkward subject for the novelist to deal with, for at that tender age the personality is undeveloped. Similarly a painter can only make a face interesting when the vicissitudes of life, thought, love and suffering have given it character. In the portrait of a girl the best he can do is to represent the charm and beauty of youth. But Natasha is entirely natural. She is sweet, sensitive, and sympathetic, willful, childish, womanly already, idealistic, quick-tempered, warm-hearted, headstrong, capricious and in everything enchanting. Tolstoy created many women and they are wonderfully true to life, but never another who wins the affection of the reader as does Natasha.

In the last century, of the women whose achievements endure for us in one way or another, nearly all never married (Jane Austen, Emily Brontë, Christina Rossetti, Emily Dickinson, Louisa May Alcott, Sarah Orne Jewett) or married late in their thirties (George Eliot, Elizabeth Barrett Browning, Charlotte Brontë, Olive Schreiner). I can think of only four (George Sand, Harriet Beecher Stowe, Helen Hunt Jackson, and Elizabeth Gaskell) who married and had children as young women. All had servants.

Although so much is said against the unfitness of woman for public life, it can be seen, from Semiramis to Victoria, that she has a peculiar fitness for governing. In poetry, Sappho was honored by the title of the tenth Muse. Helena Lucretio Corano, a Venetian lady, who lived in the seventeenth century, was a woman of such rare scientific attainments, that the most illustrious persons, in passing through Venice, were more anxious to see her than all the curiosities of the city. She devoted herself, with intense perseverance, to literary pursuits; was made a Doctor, and received the title of Unalterable; and, with all, combined an unostentatious humility. She was but thirty-eight, when she died. Mary Cunitz, a native of Silesia, was one of the greatest geniuses of the sixteenth century. She understood many languages[,] was skilled in history, poetry, painting, music, and medicine; and these were but amusements. She particularly applied herself to Mathematics, and especially to Astronomy. She was ranked as one of the most able astronomers of her time, and formed astronomical tables, that acquired for her a great reputation. Another lady of the seventeenth century, Anne Maria Schureman, succeeded admirably in sculpture, engraving, and music. She was also learned in various languages; but in miniature painting she particularly excelled. Constantia Grierson, an Irish girl, of poor parentage, was celebrated for her literary attainments, although she died at the early age of twenty-seven. With the learning, energy, and perseverance of Lady Jane Grey, Mary, and Elizabeth, all are familiar. Mrs. Montague is spoken of by Cowper, as standing at the head of all that is called learned, and, that every critic veiled his bonnet at her superior judgment. Joannie Baillie has been termed the female Shakspeare [sic]. Miss Caroline Herschell shares the fame of her brother, as an astronomer, having herself discovered planets and comets. The greatest triumphs of the present age, in the drama, music, and literature, have been achieved by females, among whom may be mentioned Miss Cushman, Jenny Lind, Miss Chesebro, Miss Carey, Miss Fennimore Cooper, Grace Greenwood, Mrs. Stowe, and Margaret Fuller Ossoli. Mrs. Somerville’s renown has long been spread over both hemispheres, as one of the first astronomers of the present age. With this, she combines various literary acquirements; and to those who think them incompatible with feminine duties, it can be shown that she discharged, in an eminent degree, every social and family requirement.

In our century, until very recently, it has not been so different. Most did not marry (Selma Lagerlof, Willa Cather, Ellen Glasgow, Gertrude Stein, Gabriela Mistral, Elizabeth Madox Roberts, Charlotte Mew, Eudora Welty, Marianne Moore) or, if married, have been childless (Edith Wharton, Virginia Woolf, Katherine Mansfield, Dorothy Richardson, H.H. Richardson, Elizabeth Bowen, Isak Dinesen, Katherine Anne Porter, Lillian Hellman, Dorothy Parker). Colette had one child (when she was forty). If I include Sigrid Undset, Kay Boyle, Pearl Buck, Dorothy Canfield Fisher, that will make a small group who had more than one child. All had household help or other special circumstances.

During the Victorian era in Britain, as illustrated by Oliver Twist, it was quite bleak for children in poor households. There was widespread deprivation and this meant that children were often forced to work long hours in hazardous occupations inside factories, down mines and up chimneys.

s for girls were not hard to find in the 1780s, not least because keeping a school was one of the very few ways in which a woman could hope to earn a respectable living, but accounts of what went on in them make depressing, and sometimes horrifying, reading.

But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence — of someone resenting the treatment of her sex and pleading for its rights.

Mirabelle replaces the absent friends with books and television mysteries of the PBS kind. The books are mostly nineteenth-century novels in which women are poisoned or are doing the poisoning. She does not read these books as a romantic lonely hearts turning pages in the isolation of her room, not at all. She is instead an educated spirit with a sense of irony. She loves the gloom of these period novels, especially as kitsch, but beneath it all she finds that a part of her indentifies with all that darkness.

"None of the neighbouring ladies would stand as godmother, for they were secretly dubious as to the children's origin; so he had asked good Mrs. Spaniel to act in that capacity. She, a simple kindly creature, was much flattered, though certainly she can have understood very little of the symbolical rite. Gissing, filling out the form that Mr. Poodle had given him, had put down the names of an entirely imaginary brother and sister-in-law of his, "deceased," whom he asserted as the parents."

I would be curious about one of those Jane Austen women -- you know -- long-suffering, dutiful -- but all right in the end -- a plump 19th century type, five foot four, ringlets, brown eyes, long fingers.

But in the storytelling arenas, from kitchen tales to outdoor university anecdotes, "women's morality" was much more expansive, interesting, it took on the heroic-Harriet T. and Ida B. and the women who worked with W. E. B. Du Bois, the second wife of Booker T. and the Mother Divine of the Peace and Co-op Movement, and Claudia Jones, organizer from Trinidad who was deported during the Crackdown, when the national line shifted from "blacks as inferior" to "blacks as subversive" and wound up in a stone quarry prison and wrote "In every bit as hard as they hit me." These women were characterized as "morally exemplary," meaning courageous, disciplined, skilled and brilliant, responsive to responsibility for and accountable to the community. The other type of memorable tale bound up in these women heroics was tales of resistance-old and contemporary-insurrections, flight, abolition, warfare in alliance with Seminoles and Narragansetts during the period of European enslavement; the critical roles men and women played in the revolutionary overthrow of slavery; and in the Reconstruction self-help enterprises founded, the self-governing townships founded, the political convention convened and progressive legislation pressed through; and in days since the mobilization, organization, agitation, legislation, economic boycotts, protest demonstrations, rent strikes, parades, consumer-cooperative organizations.

Florence Nightingale lifted the vague, casual, though kindly and devoted, feeling of women into organized, efficient and invaluable service; she enlarged the nurse’s vision to sympathy for great groups outside her family or particular tribe.

For seventy years, the women leaders of this country have been asking the government to recognize this possibility. Every great woman who stands out in our history-Susan B. Anthony, Elizabeth Cady Stanton, Clara Barton, Mary Livermore, Harriet Beecher Stowe, Frances Willard, Lucy Stone, Jane Addams, Ella Flagg Young, Alice Stone Blackwell, Anna Howard Shaw, Mrs. Catt-all have asked the government to permit women to serve more effectively the national welfare. All have felt that the energy, the thought, and the suffering that was spent in trying to obtain permission to serve directly should as quickly as possible be turned to the actual service.