ESC 25, 1999 characters reveal themselves through their letter writing, and from these letters the reader learns not only of the intimate re lationships between them but also of the evil that lurks in the ‘real’ world beyond the protective castle walls. Fenwick’s novel is so full o f tension and suspense that it was difficult to put down, and its formal, ornate, and extremely poetic language adds greatly to the melodrama of her heartbreaking tale. Grundy’s helpful explanatory notes, inserted at the bot tom of almost every page, further enhance Secrecy’s readability. W ithin each volume of this three-volume text, Grundy has in serted definitions for uncommon words or phrases; highlighted literary, theoretical, mythological, historical, and biblical allu sions; and explained any ‘fashionable’ traditions, customs, or beliefs of which a reader might not be otherwise aware. It is pleasing to see a novel such as Secrecy surface in the late twentieth century, a time when the imagination of many human beings has been buried beneath an overabundance of electronic images and ideas. As a creative work of intrigue and passionate love, Fenwick’s novel might be just what the readers of today need to help them rediscover their imaginative capabilities. JANICE A. ISAAC / Carleton University Mary Hays, The Victim of Prejudice. Ed. Eleanor Ty (Peter borough: Broadview Press, 1998). 240. $15.95 paper. Historians and feminists alike will applaud the second Broad view edition of Mary Hays’s The Victim of Prejudice, edited by Eleanor Ty. Hays, one of England’s early feminist writers, wrote the novel in 1799. The harsh realities and prejudices of the pre-Romantic era are explored in the tragic story of a young woman who is raped and refuses to marry her attacker. Pro tagonist Mary Raymond is ostracized by a conservative English society after the details of her birth to a promiscuous mother, as well as her own deflowering, are disclosed by her unrelenting persecutor Sir Peter Osborne. In an intriguing and factually comprehensive introduction to the text, Ty outlines several themes within the novel that in 116 R E VIE W S volve male-dominated institutions. Ty says that Hays uses the story of Mary Raymond to demonstrate “how ‘having no hand in forming [the laws],’ women become the ‘sufferers’ ” (xxi). Ac cording to the editor, Hays blames society for Mary Raymond’s destruction. Clear class distinctions and the literal connection between the disastrous destinies of both Mary and her mother are also pointed out as thematic devices. Finally, Ty aligns the novel’s messages with the personal obstacles that Hays faced as a writer and feminist thinker. After displaying emotion to a male friend, says Ty, Hays was marginalized by her sex when 1990s standards are applied. An erroneous story surfaced within English literary circles that Hays was amorously involved with her male friend, which Ty recognizes as an interesting link between fact and fiction. “Despite her spirit and intelligence, the false rumour brought Hays down to the level of the sensual and sexual, much like her own heroine” (xxx). Ty takes the two-volume edition of Victim that was first published by Joseph Johnson in 1799 as her copy-text and re tains Hays’s notes at the bottom o f the appropriate pages. Ex planatory notes, for which there are fifty-three entries, appear after the main text and provide in-depth explanations of every thing from allusions to Hays’s first novel, Memoirs of Emma Courtney (1796), to the metaphor o f a magic circle “suggesting] the confinement of women by custom or patriarchal society” (190). The most notable change in this follow-up to T y’s first edition of Victim, published in 1994, is an updated bibliogra phy and appendices. While the first edition contains a sparse, two-page selected bibliography, the second edition has four ap pendices and a larger select bibliography that includes books by Hays, other works, periodical publications, letters, and bi ographical and critical studies. The appendices in the second edition contain the entire text of “The Female Seducers” from Edward M oore’s Fables for the Female Sex because Ty says that it is “an important intertext...