Abstract:This essay, informed by scholarship on middlebrow culture, places Mary Lavin’s stories in the textual space of The New Yorker, reassessing the supposed ‘conservatism’ of her short fiction. Lavin’s literary fame has often been marred by her perceived conservative streaks – in terms of her literary sensibility and her gender politics. Lavin’s literary style is inclined to the realist mode, which appears to be old-fashioned in comparison with the experimentalist work of her modernist predecessors; moreover, her i… Show more
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