Mary Wollstonecraft and her Vindication of the Rights of Woman (1792)

Wollstonecraft has had what scholar Cora Kaplan labelled in 2002 a "curious" legacy: "for an author-activist adept in many genres... up until the last quarter-century Wollstonecraft's life has been read much more closely than her writing".[51] After the devastating effect of Godwin's Memoirs, Wollstonecraft's reputation lay in tatters for a century; she was pilloried by such writers as Maria Edgeworth, who patterned the "freakish" Harriet Freke in Belinda (1801) after her. Other novelists such as Mary Hays, Charlotte Turner Smith, Fanny Burney, and Jane West created similar figures, all to teach a "moral lesson" to their readers.[52] (Hays had been a close friend, and helped nurse her in her dying days.[53]) Scholar Virginia Sapiro states that few read Wollstonecraft's works during the nineteenth century as "her attackers implied or stated that no self-respecting woman would read her work".[54] (In fact, as Craciun points out, new editions of Rights of Woman appeared in the UK in the 1840s, and in the US in the 1830s, 1840s, and 1850s.[55]) One of those few was Elizabeth Barrett Browning, who read Rights of Woman at the age of 12, and whose poem Aurora Leigh reflected "Wollstonecraft's unwavering focus on education".[56] Another was Lucretia Mott,[57] a Quaker minister and activist against slavery who helped organize the Seneca Falls Convention, an influential women's rights convention held in 1848. Another who read Wollstonecraft was George Eliot, a prolific writer of reviews, articles, novels, and translations. In 1855, she devoted an essay to the roles and rights of women, comparing Wollstonecraft and Margaret Fuller. Fuller was an American journalist, critic, and women's right activist who, like Wollstonecraft, had travelled to the Continent, been involved in the struggle for reform (in this case the Roman Republic), and had a child by a man without marrying him.[58] Wollstonecraft's children's work was adapted by Charlotte Mary Yonge in 1870.[59]

With the rise of the movement to give women a political voice, Wollstonecraft's work was exhumed. The first full-length biography,[55] by Elizabeth Robins Pennell, appeared in 1884 as part of a series by the Roberts Brothers on famous women.[60] This followed an attempt at rehabilitation in 1879, with the publication of Wollstonecraft's Letters to Imlay, with prefatory memoir by C. Kegan Paul.[61] Millicent Garrett Fawcett, a suffragist and later president of the National Union of Women's Suffrage Societies, wrote the introduction to the centenary edition (i.e. 1892) of the Rights of Woman, cleansing the memory of Wollstonecraft and claiming her as the foremother of the struggle for the vote.[62] As early as 1898, Wollstonecraft was the subject of a doctoral thesis and its resulting book.[63]

With the advent of the modern feminist movement, women as politically dissimilar from each other as Virginia Woolf and Emma Goldman embraced Wollstonecraft's life story.[64] By 1929 Woolf described Wollstonecraft—her writing, arguments, and "experiments in living"—as immortal: "she is alive and active, she argues and experiments, we hear her voice and trace her influence even now among the living".[65] Others, however, continued to decry Wollstonecraft's lifestyle.[66] A biography published in 1932 refers to recent reprints of her works, incorporating new research, and to a "study" in 1911, a play in 1922, and another biography in 1924.[67] Interest in her never completely died, with full-length biographies in 1937[68] and 1951[69]

With the emergence of feminist criticism in academia in the 1960s and 1970s, Wollstonecraft's works returned to prominence. Their fortunes reflected that of the second wave of the feminist movement itself; for example, in the

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early 1970s, six major biographies of Wollstonecraft were published that presented her "passionate life in apposition to [her] radical and rationalist agenda".[70] In the 1980s and 1990s, yet another image of Wollstonecraft emerged, one which described her as much more a creature of her time; scholars such as Claudia Johnson, Gary Kelly, and Virginia Sapiro demonstrated the continuity between Wollstonecraft's thought and other important eighteenth-century ideas regarding topics such as sensibility, economics, and political theory.

Wollstonecraft's work has also had an effect on feminism outside the academy in recent years. Ayaan Hirsi Ali, a political writer and former Muslim who is critical of Islam in general and its dictates regarding women in particular, cited the Rights of Woman in her autobiography Infidel and wrote that she was "inspired by Mary Wollstonecraft, the pioneering feminist thinker who told women they had the same ability to reason as men did and deserved the same rights".[71] British writer Caitlin Moran, author of the best-selling How to Be a Woman, described herself as "half Wollstonecraft" to the New Yorker.[72] She has also inspired more widely. Nobel Laureate

Amartya Sen, the Indian economist and philosopher who first identified the missing women of Asia, draws repeatedly on Wollstonecraft as a political philosopher in The Idea of Justice

Both of Wollstonecraft's novels criticize what she viewed as the patriarchal institution of marriage and its deleterious effects on women. In her first novel, Mary: A Fiction (1788), the eponymous heroine is forced into a loveless marriage for economic reasons; she fulfils her desire for love and affection outside of marriage with two passionate romantic friendships, one with a woman and one with a man. Maria: or, The Wrongs of Woman (1798), an unfinished novel published posthumously and often considered Wollstonecraft's most radical feminist work,[81] revolves around the story of a woman imprisoned in an insane asylum by her husband; like Mary, Maria also finds fulfilment outside of marriage, in an affair with a fellow inmate and a friendship with one of her keepers. Neither of Wollstonecraft's novels depict successful marriages, although she posits such relationships in the Rights of Woman. At the end of Mary, the heroine believes she is going "to that world where there is neither marrying, nor giving in marriage,"[82] presumably a positive state of affairs.[83]

Both of Wollstonecraft's novels also critique the discourse of sensibility, a moral philosophy and aesthetic that had become popular at the end of the eighteenth century. Mary is itself a novel of sensibility and Wollstonecraft attempts to use the tropes of that genre to undermine sentimentalism itself, a philosophy she believed was damaging to women because it encouraged them to rely overmuch on their emotions. In The Wrongs of Woman the heroine's indulgence on romantic fantasies fostered by novels themselves is depicted as particularly detrimental.[84]

Female friendships are central to both of Wollstonecraft's novels, but it is the friendship between Maria and Jemima, the servant charged with watching over her in the insane asylum, that is the most historically significant. This friendship, based on a sympathetic bond of motherhood, between an upper-class woman and a lower-class woman is one of the first moments in the history of feminist literature that hints at a cross-class argument, that is, that women of different economic positions have the same interests because they are women

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