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The effects of nonconsensual first experiences of sexual intercourse in women are understudied. This was investigated in 3,875 adult women of whom 6.7% reported "persuaded" first-sex and 0.8% reported forced first-sex. Compared with willing first-sex, both forced and "persuaded" first-sex occurred earlier, involved a greater age difference between partners, and were associated with more lifetime sexual partners and some measures of worse psychological well-being. In addition, "persuaded" first-sex was associated with worse general physical health. "Persuaded" first-sex and its relation to health need to be better understood, along with how culture influences women's experiences of first-sex.

This article introduces readers to the fiction of invasion, a paranoid literary phenomenon that responded to widespread social concerns about the possible invasion of Britain by an array of hostile foreign forces in the period between 1870 and 1914. It begins with an overview of the development of this relatively unknown body of work in the late-Victorian and Edwardian periods, charting assumptions of imminent large-scale war, fascination with the technology of warfare and the marked participation of military men who used the fiction to agitate for increased defence spending. While this alarmist brand of popular fiction provoked considerable contemporary commentary, modern critical engagement with it has been somewhat limited. Beginning in the 1960s and dominated by the work of the master bibliographer I. F. Clarke, the initial scholarly response necessarily took the form of classification and survey and evinced particular interest in adjudging the accuracy of fictional predictions about future war. More recent scholarship is concerned with reading the fiction in the context of its own times, probing its relationship with external imperial factors and internal domestic concerns and its effectiveness as a propaganda tool. In addition to offering an overview of this line of enquiry, this article seeks to broaden the understanding of the invasion narrative in fin-de-siècle popular fiction, drawing lines out to the recurrence of the invasion theme across a broad range of genres and modes exceeding that of future war fiction and including socalled 'yellow peril' narratives, crime and detective fiction and the gothic. In conclusion, a number of avenues complementing the textual and the historical are suggested for future exploration. Defining the Invasion Tale: 'This Forecast of the Coming War'The defences of London had been broken. The track of the invaders was marked by ruined homes and heaps of corpses, and London's millions knew on this eventful night that the enemy were now actually at their doors. … The people were in a mad frenzy of excitement, and the scenes everywhere were terrible. Women wept and wailed, men uttered words of blank despair, and children screamed at an unknown terror.

This article investigates the metaphorical representation of child sexual abuse (CSA) in contemporary children's and young adult gothic works, focusing on the popular Series of Unfortunate Events and Miss Peregrine's Peculiar Children series. It argues that because of the upsetting nature of the issue and the numerous myths surrounding it, cultural production often uses the gothic figure of the monster who preys on children to address CSA indirectly, and identifies this strategy in the above series. It reveals a distinctly sexual charge to the monsters' victimisation of the children in both sets of narratives and explores their tendency to perpetuate CSA myths such as that of the perpetrator as a monstrous stranger. In conclusion, it considers how these narratives also challenge CSA myths and offer models of resilient child survivors, and it draws on cognitive cultural theory to theorise potential reader/viewer responses. Through its metaphorical imbrication of real-world brutality and dark fantasy, the Gothic is ultimately theorised as potentially affording more scope than realist treatments for touching on issues of transgression for wider and younger audiences, and sometimes in affirmative ways that move beyond merely recirculating myths and panic.

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