A character in Catherine Gore's Women as They Are (1830) says, "We have perhaps had more than enough of fashionable novels, but as the amber which serves to preserve the ephemeral modes and caprices ...
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In the following review, the anonymous writer criticizes Pin Money for its puffing—its indiscriminate name-dropping of upper-class shops and tradesmen—but finds that the novel contains &...
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In the excerpt below, Johnstone praises Greville; or, A Season in Paris for capturing the characteristic differences between the French and English aristocracies.
The novel season of 1841 has opene...
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In the following overview of several of Gore's novels, Jacox—who contends that "the fashionable novel occupies but humble rank" among literary genres—nevertheless pr...
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In the following excerpt, Stebbins finds Gore's novels "insipid, " criticizing their lack of plot development and well-drawn characters, and pointing out her tendency to over-indu...
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In this excerpt, Anderson uses a feminist perspective to identify the "womanly ideology" present in both Gore's work and many present-day romance novels, and argues that is it thi...
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In the following excerpt, Russell examines Gore's novels of the 1840s, when she focused on financial issues, and finds her an objective and judicious observer of money in relation to mid-ninete...
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Catherine Gore
Critical Review by Westminster Review
