Abstract
Drawing on existing work on the theoretical notion of the trace in neo-Victorian fiction, this article foregrounds the material trace as an appropriate framework for examining neo-Victorian gloves. Considering the ways in which gloves take on a ghostly life and agency of their own in neo-Victorianism, this article seeks to interrogate the material and spectral traces that they leave behind in Sarah Waters's Affinity (1999) and Fingersmith (2002). It aims to show the significance of sartorial matters in these contemporary re-imaginings of the Victorian period, and to examine neo-Victorian fiction's relationship with the traces and fingerprints of the past. Locating the glove as entrenched within cultural memory as an explicitly Victorian item, this article suggests that it acts as both a marker of Victorian situatedness and a palpable entity capable of transgressing the temporal, spatial, and sexual boundaries that exist between the past and present.
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