Kylee-Anne Hingston is a Lecturer in English at St. Thomas More College, University of Saskatchewan.

• Introduction Grotesque Bodies: Hybridity and Focalization in Victor Hugo’s Notre-Dame de Paris Social Bodies: Dickens and the Disabled Narrator in Bleak House Sensing Bodies: Negotiating the Body and Identity in Mary Elizabeth Braddon’s Aurora Floyd and Wilkie Collins’s The Moonstone Sanctified Bodies: Christian Theology and Disability in Ellice Hopkins’s Rose Turquand and Charlotte Yonge’s The Pillars of the House Fairy-tale Bodies: Prostheses and Narrative Perspective in Dinah Mulock Craik’s The Little Lame Prince Mysterious Bodies: Solving and De-solving Disability in the Fin-de-Siècle Mystery Afterword Appendix: Figures Index

'The narratological concept of focalization does double-duty as an optical concept [...] and Hingston’s emphasis on the role of perception in determining bodily normativity or deviance is a welcome approach, expanding our conception of disability outwards from solely a discursive category to a broader perceptual and even phenomenological concept, even in a book fundamentally concerned with textuality. The kind of detailed attention to form - not solely as a textual feature but also a bodily one - in which this book engages is exemplary for future studies of disability in a literary critical context.' Natalie Prizel, Victorian Studies

Kylee-Anne Hingston is a Lecturer in English at St. Thomas More College, University of Saskatchewan.

• Introduction Grotesque Bodies: Hybridity and Focalization in Victor Hugo’s Notre-Dame de Paris Social Bodies: Dickens and the Disabled Narrator in Bleak House Sensing Bodies: Negotiating the Body and Identity in Mary Elizabeth Braddon’s Aurora Floyd and Wilkie Collins’s The Moonstone Sanctified Bodies: Christian Theology and Disability in Ellice Hopkins’s Rose Turquand and Charlotte Yonge’s The Pillars of the House Fairy-tale Bodies: Prostheses and Narrative Perspective in Dinah Mulock Craik’s The Little Lame Prince Mysterious Bodies: Solving and De-solving Disability in the Fin-de-Siècle Mystery Afterword Appendix: Figures Index

'The narratological concept of focalization does double-duty as an optical concept [...] and Hingston’s emphasis on the role of perception in determining bodily normativity or deviance is a welcome approach, expanding our conception of disability outwards from solely a discursive category to a broader perceptual and even phenomenological concept, even in a book fundamentally concerned with textuality. The kind of detailed attention to form - not solely as a textual feature but also a bodily one - in which this book engages is exemplary for future studies of disability in a literary critical context.' Natalie Prizel, Victorian Studies

Kylee-Anne Hingston is a Lecturer in English at St. Thomas More College, University of Saskatchewan.

• Introduction Grotesque Bodies: Hybridity and Focalization in Victor Hugo’s Notre-Dame de Paris Social Bodies: Dickens and the Disabled Narrator in Bleak House Sensing Bodies: Negotiating the Body and Identity in Mary Elizabeth Braddon’s Aurora Floyd and Wilkie Collins’s The Moonstone Sanctified Bodies: Christian Theology and Disability in Ellice Hopkins’s Rose Turquand and Charlotte Yonge’s The Pillars of the House Fairy-tale Bodies: Prostheses and Narrative Perspective in Dinah Mulock Craik’s The Little Lame Prince Mysterious Bodies: Solving and De-solving Disability in the Fin-de-Siècle Mystery Afterword Appendix: Figures Index

'The narratological concept of focalization does double-duty as an optical concept [...] and Hingston’s emphasis on the role of perception in determining bodily normativity or deviance is a welcome approach, expanding our conception of disability outwards from solely a discursive category to a broader perceptual and even phenomenological concept, even in a book fundamentally concerned with textuality. The kind of detailed attention to form - not solely as a textual feature but also a bodily one - in which this book engages is exemplary for future studies of disability in a literary critical context.' Natalie Prizel, Victorian Studies