《澳大利亚文化研究（第1辑）》：
Which comes close to evoking why I find Stead so particularly appealing at thisjuncture in our shared history.
In her one sustained piece of what might be called literary theory， Stead spokeof herself as writing the "many-charactered novel" and also the "novel of strife."The winning aspect of the community of For Love Alone is， paradoxically， that it is soadversarial， and that the involvement of Teresa and Crow， not fated to be one of thegreat love stories as one of its parties at first hopes， limns an antagonism which yetimplies a world of dependency， of vulnerability， and of mutual caring. The differencebetween the Victorian multiplot novel and Stead's modem many-charactered novel is thatthe former presumes a sort of teleology that its residues， Sam Politt and Jonathan Crow，presume in the modem era and as modem， but which ends up being chimerical. Teresa'sacceptance of a many-charactered world she had once thought was animated by lovealone is educated， though not disappointed， by these new circumstances. Far from simplygoing home to England out of colonial nostalgia， Teresa pilots herself on a mission thatnot only safeguards her own autonomy but brings a genre in peril on to a new threshold.In vastly changed social and economic circumstances， Teresa today can still stand for usas a pilot.
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