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“... were used freely as value-judgments in critical discourse. As Helen McNeil points out in her centenary study, Emily Dickinson entered the 20th century seeming to have written a series of ‘over-sensitive, coy, rather ill-disciplined poems’. Feminist critics have challenged this sexist view of her writing, and argued ...”

“... and to confront Wanda Fay, his obnoxious wife. Toward this young woman (a ‘ball of fluff’, as Helen McNeil calls her in a fine introduction to the novel, but hard as nails) Eudora Welty shows an unexpected hatred. The ‘scored and grimy’ breadboard Laurel rescues as she prepares to leave the ‘desecrated’ family house for good is to Wanda Fay ...”