Constable, 1938]). "Realism and Sensation Fiction" by Daniel Brown, for example, makes the case that the differences between the two genres can be "difficult to discern," but notes that, while the subject matter may be the same (crime, infidelity, murder), the approach distinguishes the genres. The latter move, of course, structurally reasserts the binarism he earlier critiqued. Daniel Brown, "Realism and Sensation Fiction," in A Companion to Sensation Fiction, 105. 3. Richard Nemesvari, Thomas Hardy, Sensationalism, and the Melodramatic Mode (New York: Palgrave Macmillan, 2011). 4. Emily Steinlight, "Why Novels Are Redundant: Sensation Fiction and the Overpopulation of Literature," ELH 79, no. 2 (2012): 501-35, 504. She cleverly reads against the frame of W. R. Greg's notion of redundancy and argues that "criticism itself relies on the conception of an overcrowded literary field in need of regulation." See also