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“... Susan Gubar has kept the faith. Most of the ‘feminist critics’ of the late 1970s, myself included, have drifted away, though not away from feminism: feminist criticism, an exclusive academic sorority, was always distinct from commitment to a political movement. But despite her dismay and even despair at what’s become of academic feminism, Gubar does her best to tend the flame ...”

“... 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 years, but they soon faced enormous obstacles in the material itself. The ...”

“... the germinating infection by which women may subvert the borrowed syntax of men. Gilbertson and Gubar study recurrent forms of female rebellion in the works of Mary Shelley, Charlotte and Emily Brontë, George Eliot, and Dickinson herself, centring on the symbol of Bertha Mason rampaging in the attic. Socially she is there because of the power of fathers ...”

“... feminists as naive empiricists. ‘With friends like these, does feminism need enemies?’ Susan Gubar asks with uncharacteristic bitterness in her new stock-taking book Critical Condition. Clearly Moi is unforgiven, even though she has partly recanted. For instance: she used to argue that ‘all efforts towards a definition of woman are destined ...”

“... 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 has extraordinary ...”

“... speaking to other women, preferring to speak as a genderless ‘philosopher’ or ‘moralist’. Susan Gubar pointed out in 1994 that one problem with a great deal of feminist or proto-feminist writing – Wollstonecraft’s included – is that, in quoting or impersonating its adversaries, it ends up duplicating their arguments and perhaps even ...”

“... 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 middle-aged love affair ...”

“... and misogynistic contempt that writers such as Guest and Hollenberg (and Rachel Blau DuPlessis, Susan Stanford Friedman and Susan Gubar) did much to dispel. Yet one does want to know just how things were paid for: did H.D. have any money of her own? It turns out she had an allowance from her parents, and that a ...”

“... 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 books, though it would be ...”

“... 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 feminism. Only instead of ...”