Abstract
Focusing on Rosamond Lehmann's The Weather in the Streets, Rose Macaulay's Dangerous Ages and E. H. Young's William, this article examines the representation of young romantic heroines in the context of emergent discourses on women's sexuality, marriage and motherhood. It is argued that these heroines, ambivalent and tentative in their quest for sexual modernity, represent the middlebrow's moral stance that reflects the paradoxical attitude of the interwar era towards modern women. A juxtaposition of these texts reveals a battle of varying versions of femininity, while a fine balance is mediated between the progressive and conservative ends of the middlebrow spectrum of values.
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