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During the research and writing of this book, a community coalesced to see the project through to completion. Fellowship and grant support was provided by the Mellon Foundation, Millsaps College, the Chancellor of the University of California at Berkeley, the Berkeley Graduate Division’s Humanities Graduate Research Grant program, and the Koret Foundation. The librarians at the Manuscript and Jewish Studies libraries of University College London, the British Library, and the Newspaper Library in Colindale, and the curator of London’s Jewish Museum provided generous and prompt assistance. The Jewish Museum graciously permitted me to quote from the Grace Aguilar manuscripts.

I would like to thank Catherine Gallagher for supporting a Jewish cultural studies project in an English department. Thanks also for frequently reminding me of what I had meant to say before I had ever managed to say it. Steve Goldsmith’s generous, expansive criticisms of the manuscript, his nurturing mentorship, and his willingness to discuss the minute implications of my work, both practical and impractical, were invaluable. David Biale’s unwavering support for the project buoyed up my belief in its legitimacy as Jewish scholarship, and his sharp criticisms improved the historiography and the chapter organization. Critics whose editorial comments materially strengthened the arguments were David Sorkin, Robert Alter, Chana Kronfeld, and Murray Baumgarten. The editorial staff at Wayne State University Press guided me through the revision and publication process with thorough, gentle, and sure hands.

Catherine Gallagher’s Victorian dissertation group was the prod, the testing ground, and the havruta. Over the years, its members included Laura Green, Bill Cohen, Judith Rosen, Laura Camozzi-Berry, Peter Logan, Kate McCullough, Daniel Hack, Catherine Robson, Cheri Larsen Hoeckley, Alyson Bardsley, Rebecca Steinitz, and Irene Tucker. The Msrepresentations gang, particularly my partners in crime Elise Marks, Kim Drake, and Simon Stern, helped me laugh at critics and become one.

Thanks to Rachel Luft, whose curriculum on Jewish women enlightened me, and whose painstaking pruning of the manuscript was accomplished with kindness. She is a teacher. Thanks to the Jewish women whose wisdom, commitment, and power were a constant source of inspiration: Jennifer Sylvor, Rebecca Weiner, Ruti Kadish, Sharon Friedman, Diane Bernbaum, Rachel Wolff, and Sue Grayzel. And thanks to the Jewish men who have taught me that it is possible to love and respect women, while loving and respecting oneself: Steven Stark, Mike Richman, Marshall Richman, Duke Helfand, Brad Friedman, Doug Abrams Arava, Natan Margolit, Lewis Aframi, Michael Taller, David Franklin, and Daniel Lev. Crucial typing support was provided by Arlene Galchinsky, Joel Bashevkin, Sharon Friedman, Marshall Richman, and Rebecca Weiner. Thanks to Catherine Davidson and Michael Dunn for their assistance in gathering and reproducing the photographs.

The encouragement of my father and mother, Herb and Arlene Galchinsky, my sister and brother-in-law, Cindy and Howie Sales, and my grandmothers, Sarah Galchinsky and Rose Gvirtz, has been indispensable, as has that of my nephew and niece, Benjamin and Brinna Sales. Throughout the years of excitement and disappointment, rejection and accomplishment, Elke Davidson has been my touchstone. She tirelessly reread the text. She appeared as a witness at every talk in every city. Her immense editorial acumen, ability to synthesize, and capacity to suggest a different strategy improved and in some cases changed the shape of the project. She provided emotional support at every phase of the roller-coaster ride, even when we were both motion sick. And her belief in the value of the work sometimes exceeded my own. Her imprint is on every page.

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