Feminism In New Grub Street

George Gissing’s New Grub Street reveals a paradigm of culture changes happening during the Victorian Era in England. Females in the novel either represent those who follow the female model set out for them or the New Woman model. Amy Reardon earnestly seeks to provide a comfortable household for her husband and son but is unable to due to her husband not earning any money. Meanwhile, Marian Yule and Dora Milvain want something more out of their lives. While Marian Yule must compose material, for which she will never receive recognition, she ultimately branches out from societal norms by becoming a rural librarian. In comparison, Dora Milvain branches out of her own social class and moves down in society against her brother’s wishes. The independent

In the beginning of the novel, we see her interact with her husband as they are struggling to survive in their middle class social system. It’s easy to dislike Amy Reardon; although she maintains a household, for a while, she cares more about her image than her actual marriage. However, if one considers that during this era image meant everything, Amy’s character becomes more relatable. Amy’s husband ultimately expects too much from his wife. As a writer who refuses to write anything but volumes in a literary changing world, he gives Amy no choice but to leave him. Amy expects little from her husband except the maintenance of a middle class lifestyle, including: a maid, stylish, new clothes, and attendance at societal parties. At the beginning of their marriage, Amy married Edwin Reardon thinking that one day he would be an established, well-off writer. However, due to his stubbornness, he begins declination in wealth quickly. Amy pushes her husband to write something (anything, really) to bring in money. In fact, after he asks her if they can move to a smaller, cheaper place, she urges him “but think what it means, to give up our home and position. That is open confession of failure. It would be horrible” (86). Amy would rather Edwin sacrifices artistic views/ideology in order for her to live comfortably. But in the world the Reardon’s live in, image means everything; therefore, Amy doesn’t

Amy Reardon through her marriage(s) and actions taken to retain her image in social class, characterized as a Victorian woman. However, Marian Yule rejected the role set out for her and begins to take on a role of power in various scenes. Although the ‘angel of the household’ is a dying image, the New Woman went through an evolutionary process in order to retain any power in the movement. Marian Yule began the process by how she dressed, her profession, and retook some of the power that males had over her. In addition, an examination of Marian Yule’s character shows the changes taking place in English culture: the empowerment of women in the household and