Susan J. Wolfson. Romantic Interactions: Social Being and Turns of Literary Action. Baltimore: Johns Hopkins University Press, 2010. xiv+381. $70.00 cloth/$30.00 paper. pace of Susan Wolfson's editorial and scholarly contributions to our field belies what has emerged over course of a distinguished career as implicit motto governing everything she writes: Not so fast! There is much more going on in what we read, she claims, and much more of value, than our critical hay-bailers and mechanical threshers know how to reap. What is stubble and chaff for agribusiness of theory is for Wolfson where really valuable stuff is stashed. Like Wordsworth's solitary reaper, she gathers her harvest one armful at a time and, oe'r her sickle bending, spots all those violets half hidden from eye that had to be left behind by big engines of criticism because, when gathered in multitudes, violets gum up machinery. Unlike Wordsworth's solitary singer, however, Wolfson--a virtuoso of contextual close reading--doesn't need an interpreter: her message has been clear since publication of Formal Charges more than a decade ago, although its militancy seems to have diminished a bit as her audience of willing listeners has grown. From courtroom combativeness of that title to ghostlier demarcations traced in Borderlines to more reciprocal give and take of Romantic Interactions, Wolfson's polemic has moderated while her argument remains same. As she puts it in Borderlines, speaking of Mary Wollstonecraft's methodology of cultural interrogation, we ourselves diminished, as readers and critics and students, whenever we relax our commitment to proving (testing, uncovering) large points in local sites, and reading local events into registers (xix). Meanwhile, she has shown that even solitary reapers can fine-tune big critical machines traversing those wider registers to harvest violets without crushing them. No enemy to theory, Wolfson has proven to be one of its most knowledgeable technicians. Romantic Interactions carries on project of Borderlines in exploring subtle paradoxes of gender identification, both self-affirmed and imposed From without, informing work of long-canonical Romantic writers as well as more recent arrivals to our standard anthologies and syllabi. It is less a coda to its predecessor than a second volume of essays on similar themes. Divided into three parts, book examines, first, two female writers' engagements with male poetic tradition, next, close and mutually formative of William and Dorothy Wordsworth as siblings and writers, and last, infatuations, disenchantments, recriminations, rebuttals, apologies, and celebrity apotheoses of Byronism in aftermath of the Separation, before and after Lord Byron's death. Part 1 examines poetry of Charlotte Smith--chiefly Emigrants--and writings of Mary Wollstonecraft, as well as Wollstonecraft's contentious afterlives in poetry extending from her death to present day. By interactions Wolfson means, largely, textual allusions and reworkings of male precursors rather than exchanges of contemporary coteries or literary sororities. Smith, for instance, finds her strongest political and gender allies among canonical poets, but reapplies, and sometimes transforms, men's best known lines for her own purposes. allusions her argument, says Wolfson (52). In bringing these interactions to light, author not only takes issue with some feminist critics' tendency to flatten gender politics of Emigrants, but also calls attention to continuous beat of Smith's republican heart: The urgent divisions, she writes, are not of nation but of class (44). These divisions most prominently displayed in Smith's ambivalence toward French refugees of revolution who, demanding compassion, had been so stingy with it while sitting atop ancien regime. …
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