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Table of Contents

  1. “A Salutary Scar”: Muriel Spark’s Desegregated Art in the Twenty-first Century
  2. David Herman
  3. pp. 473-486
  4. DOI: https://doi.org/10.1353/mfs.0.1548
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  1. “Fully to Savour Her Position”: Muriel Spark and Scottish Identity
  2. Gerard Carruthers
  3. pp. 487-504
  4. DOI: https://doi.org/10.1353/mfs.0.1538
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  1. Muriel Spark and the Meaning of Treason
  2. Marina MacKay
  3. pp. 505-522
  4. DOI: https://doi.org/10.1353/mfs.0.1540
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  1. Stylish Spinsters: Spark, Pym, and the Postwar Comedy of the Object
  2. Hope Howell Hodgkins
  3. pp. 523-543
  4. DOI: https://doi.org/10.1353/mfs.0.1544
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  1. “Her Lips Are Slightly Parted”: The Ineffability of Erotic Sociality in Muriel Spark’s The Driver’s Seat
  2. Jonathan Kemp
  3. pp. 544-557
  4. DOI: https://doi.org/10.1353/mfs.0.1545
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  1. “Look for One Thing and You Find Another”: The Voice and Deduction in Muriel Spark’s Memento Mori
  2. Allan Pero
  3. pp. 558-573
  4. DOI: https://doi.org/10.1353/mfs.0.1546
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  1. Matters of Care and Control: Surveillance, Omniscience, and Narrative Power in The Abbess of Crewe and Loitering with Intent
  2. Lewis MacLeod
  3. pp. 574-594
  4. DOI: https://doi.org/10.1353/mfs.0.1541
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  1. “The Magazine That Is Considered the Best in the World”: Muriel Spark and the New Yorker
  2. Lisa Harrison
  3. pp. 595-616
  4. DOI: https://doi.org/10.1353/mfs.0.1542
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  1. A Bibliography of Recent Criticism on Muriel Spark
  2. Allison Fisher, Shannon Thomas
  3. pp. 617-620
  4. DOI: https://doi.org/10.1353/mfs.0.1539
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  1. Call for Papers
  3. pp. 623-625
  4. DOI: https://doi.org/10.1353/mfs.0.1549
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  1. Contributors
  3. pp. 621-622
  4. DOI: https://doi.org/10.1353/mfs.0.1547
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