This chapter demonstrates ways in which Darwin challenged aspects of Enlightenment thought, including racial and sexual hierarchies, gendered stereotypes and androcentric perspectives. In doing so, he called into question Cartesian dualism—the separation of mind and body—and its colonial implications in configuring the body as unruly and in need of subjection to a scientific control that was masculine and European. Situating Darwin’s work in relation to contemporary political debates over race, slavery, and sex, it explores the forceful argument against innatism presented by Darwinian evolution, which undid biologistic arguments for biologically determined roles or behaviors, and shows that while he is often assumed to have occupied a separate and opposing camp to John Stuart Mill, which foregrounded biology rather than ethics, Darwin and Mill in fact shared notable common ground. It argues that, in a climate emergency and at a time of devastating and rising global poverty, Darwin’s strong sense of interdependence and interrelations counters authoritarian disregard for the vulnerable and disadvantaged.

CH 3: The New Woman, a figure that emerged in the fin-de-siècle novel, was a decidedly metropolitan phenomenon. Yet novels by sisters Mary and Jane Findlater and their better-known contemporary Mona Caird explored the possibility of a Scottish New Woman, recognizing the peculiar impediments to economic and intellectual independence faced by women in rural Scotland. Employing aesthetic techniques that foregrounded their own artistry, including impressionistic reveries, abrupt shifts in perspective, and elaborate symbolism, Caird and the Findlaters suggested that the capacity to appreciate and create beauty is the defining characteristic of Scotland’s New Woman. Caird represents the Scottish landscape as a source of inspiration for her musical protagonist but condemns the conformity demanded by Scottish society as antithetical to the development of her considerable genius. By contrast, the Findlaters suggest that women’s artistic development is possible within the limitations imposed by Scottish society, albeit on the small scale that they employ in their own novels.