Abstract
This article is a personal reflection on the importance of ‘feeling’ and affective response in Hilary Fraser’s work, focusing on her chapter, ‘Writing in the Margins and Reading Between the Lines in Vernon Lee’s Library’, in Dalla stanza accanto: Vernon Lee e Firenze settant’anni dopo (2006) and her article, ‘Grief Encounter: The Language of Mourning in Fin-de-Siècle Sculpture’, published in Word & Image (2018). It considers the similarities between the kind of subjective criticism adopted by Walter Pater and Vernon Lee and Rita Felski’s advocation of postcritical reading as a means of coproduction to highlight how, in Fraser’s work, reflective emotion and critical analysis coalesce.
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