During 2013 writings of Pre-Raphaelites continued to inspire steady interest, as critics and scholars focused on relationship between biography and literary creation, and publication contexts and visual qualities of Pre-Raphaelite literature. As in past years, interest centered on philosophical and religious nuances of Christina Rossetti's poetry, and in addition, Elizabeth Siddal's writing received rare and welcome critical scrutiny. Rossettis and Elizabeth Siddal: Frances Dickey's Modern Poem: From Dante Gabriel Rossetti to Ezra Pound (University of Virginia Press) outlines trajectory of Victorian and modernist that explore complexities of individuality and selfhood. In chapter 1, Portraiture in Rossetti Circle: Window, Object, or Mirror, Dickey contrasts poems of eighteenth and early nineteenth centuries, which assume painting's intelligibility as an index of soul, with Rossetti's two titled The Portrait and Swinburne's Before Glass, written in response to Whistler's Symphony in White. Rossetti's Portraits offer contrasting approaches; whereas his sonnet The Portrait attributes subject-like capacities to painting itself, subsuming both artist and subject within its beautiful surfaces, his 12-stanza interior monologue broods on gap between portrait and memory, as speaker's self dissolves into mirroring portrait and his present identity into that of past. Similarly Swinburne's poem denies any unified interiority to woman represented in Whistler's painting, celebrating instead many forms of reflection suggested by her image. Dickey notes that this interspatial sense of identity--formed between persons and between persons and objects--anticipates that of twentieth-century modernists, who valued multivocality, non-narrativity, and system of surface reflections (46). Dickey's discussion of portrait of 1860s and 70s might usefully have been supplemented by considering an alternate tradition of mirror/self-portrait by women such as Augusta Webster and Elizabeth Barrett Browning, however, and its swift historical slide from male Pre-Raphaelites to male modernists could benefit from attention to intermediary portrait/mirror by Michael Field, Mary Coleridge, and other fin de siecle poets. In Christina Rossetti's Gothic (Bloomsbury), Serena Trowbridge argues that poetry is a form positioned to manifest elements of since it is by nature fractured (23) She interprets Rossetti's poetry as an expression of such Gothic sensibility, seen as a collective term for an assortment of tropes and styles, (1) which include preoccupation with death, grotesque, and haunting. Although many of features Trowbridge identifies as Gothic also fit well within other interpretive contexts, her readings provide an alternate approach to many discussions of Rossetti's theology per se. In chapter 1, The Spectrality of Rossettian Gothic, Trowbridge reviews theoretical insights on haunting, ghosts, and other spectral phenomena offered by Freud, Derrida, Terry Castle, Alison Chapman, and others, and applies these definitions to several Rossetti in which speaker expresses terror haunting presence or crosses tabooed threshold. She notes that Rossetti's ghost are most often fragments of narrative--the thoughts of speaker, or ballad with story only hinted at (51-52). In chapter 2, Early Influences: Rossetti and Gothic of Maturin, Trowbridge argues for importance of Rossetti's eight early based on novels by Charles Maturin. She observes that Maturin provided Rossetti with models of strong-minded heroines trapped in convents, torn between earthly and spiritual love, or suffering from their own as well as others' transgressions, all situations that recur repeatedly throughout her later works. Unlike their tormented or transgressive originals, however, Rossetti's Maturin-based heroines achieve redemption, and Trowbridge remarks that for Rossetti, the shadow of fallen world of Gothic novel serves only to indicate eternal glories of heaven (87). …