HAVING SURVIVED THE Y2K HYSTERIA, we may feel we have entered new corridors of one hundred and one thousand years. But it is only in 2001 that the punctilious and historical among us may at last observe a centennial, truly the final year of the past century and the hundredth anniversary of the death of Queen Victoria.1 The Jubilees in the last decades of Victoria’s life, and the ceremonies of international mourning that followed her death, might seem to have said goodbye to all that, but in many ways we are still under the sway of the great queen who lent her name to the age before “the American century.” Our own fin-de-siècle urges us to rediscover the many forms of Victoria that have “been hidden in plain view for a hundred years,” as Margaret Homans and Adrienne Munich put it in their co-edited collection of essays, Remaking Queen Victoria (1).2 While North American and British feminist studies have dwelt among Victorian ways since the 1970s — with implications that I will consider below — the queen herself has recently commanded critical attention that might seem, like so many features of Victoria’s public performance, out of proportion. Yet that excess, like our obeisance to the arbitrary power of the calendar, seems to be the very stuff of imagined community and ideological construction, and thus worth watching in action. In any case, when feminist literary critics such as Adrienne Munich, Margaret Homans, and Gail Turley Houston