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“... Visiting Perth in May 1922, D.H. Lawrence struck one May Gawlor, who met him at a literary picnic, as a cross between ‘a reddish bearded able-bodied seaman and a handyman at the backdoor’, so that she wondered ‘how this rather shabby, slightly coarse, far from spruce and tidy little man could possibly have caused such a flutter, apart from his books ...”

“... having published their monumental study of 19th-century women writers, The Madwoman in the Attic, Sandra Gilbert, poet and professor at the University of California at Davis, and Susan Gubar, professor at Indiana University, planned a sequel: a feminist history of women’s writing in the 20th century. At first, they expected to complete it in just a few ...”

“... sometimes grudging admission of continued admiration. ‘To enter any one of the poems,’ writes Sandra Gilbert, ‘was like entering a darkened, heavily curtained room where someone has been living a very long time with too many family relics. Dusty, sadly factual, sardonically circumstantial, they were like endless anecdotes told by an ancient ...”

“... Lawrence felt that Hardy’s Sue Bridehead was ‘no woman’ because ‘that which was female in her she wanted to consume within the male force … in the fire of understanding, of giving utterance. Whereas an ordinary woman knows that she contains all understanding, that she is the unutterable which man must forever continue to try to utter.’ No woman would assent to that last sentence unless she wanted to end up a white goddess, or an ordinary white elephant ...”

“... three appropriately distinguished candidates standing for the post this year: Stephen Greenblatt, Sandra Gilbert and Marjorie Perloff. Their policy declarations make interesting reading. Each accepts there is a crisis – although they disagree as to whether the crisis lies within or outside the profession. Greenblatt echoes Clinton’s ‘It’s the ...”

“... concept of death, then from the corpse. In Death’s Door: Modern Dying and the Ways We Grieve, Sandra Gilbert writes: ‘Predicated on either the tenets of grief therapy or those of spiritualist counselling, peculiarly cheerful do-it-yourself memorial services focus on “celebrations of the life” of the “departed” rather than the pain that his ...”

“... of Victorian neuroses and desires, She is a marvel. There are good feminist interpretations: Sandra Gilbert and Susan Gubar connect the witch-goddess figure with the newly fierce debates over the rights of women in Victorian England, and the proliferation of semi-scientific studies of woman’s ‘true nature’. With or without this reading, She ...”

“... in the Attic. Critical Condition modestly elides the impact of The Madwoman (co-authored with Sandra Gilbert), but its fame has clearly fuelled some of the nastiness Gubar complains of. It isn’t merely that other feminists are jealous of The Madwoman, though we are: even among those who haven’t read it, the book has come to represent the field in ...”

“... or sinister hag of Charlotte Brontë and Poe – or, according to the recent feminist work of Sandra Gilbert and Susan Gubar, of women’s writing generally. Lurie incorporates this idea among her other symbolic and literary motifs, leaving them all in the sub-plot and, as it were, in quotation-marks. The nuanced and naturalistically-observed ...”

“... Maybe, moreover, I’d like writing something other than legal memoranda. From having read Sandra Gilbert and Susan Gubar’s monumental The Madwoman in the Attic, I felt sufficiently ‘imbued with otherness’ to imagine myself doing for sexuality studies what these collaborators – and talk about walking together! – had done for ...”

“... faced by feminists, and in the section on ‘The Body Politic’ Marina Warner, Hermione Lee and Sandra Gilbert explore the ways in which women might or do speak and write so as to convey their experience in a way that communicates a female point of view without being disenfranchising. Marina Warner writes of ‘Fighting Talk’, the ...”

“... family in Tasmania in 1893. In 1916, she left home to go on the stage, though neither as ‘Sandra Lindsay’ nor under her own name did she leave any trace in Australia’s theatrical history. In 1923, she married a British-born Gilbert and Sullivan trouper, Roy Workman, and late in 1926 they set out for Europe ...”

“... however. Hers is an anti-biography, which confronts previous versions of Harrison’s life: Sandra Peacock’s hagiography of 1988, which read the work as determined by personal feeling, and the more scholarly accounts of Robert Ackerman and Hugh Lloyd-Jones which located her ‘at the heart’ of the (so-called) Cambridge Ritualists. Reluctant to offer ...”

“... woman in a darkened hallway, waiting for someone … She often wrote with her eyes closed, which Sandra Gilbert and Susan Gubar use for their argument that she was ‘essentially a trance writer’. The debate about how ‘instinctive’ (therefore less impressive to some) her process was doesn’t seem to me to be the best way of evaluating the ...”