When Elizabeth Gaskell's reputation was revived in the 1980s and 1990s, Ruth was reread along with the factory novels, and uneasily assimilated to the secular socio-economistic, feminist Gaskell that emerged at that time. Ruth's overt religiosity was necessarily downplayed, however, and it was reconstructed as a social novel about the sexual double standard. What happened to religion? This article argues that it is effaced by historicism: Gaskell's and ours. Ruth was Gaskell's attempt to reimagine social fiction; but it was only a first stage, a transitional work that looks towards a different kind of ethical fiction-reading subject who will be a different kind of agent in social change. Rather than proposing a naively transcendental solution to the conditions of history and ideology, whether in the Romantic form of feeling or the Christian form of faith in God, Gaskell offers an explanatory fable of social renewal through the energy of the outsider. Ruth is like her Moabite namesake: she foregoes her own religious identity as a devout Protestant Christian to take up a greater genealogical imperative, to instate the lineage of a new secular religion. In this respect, the fate of Ruth itself has been somewhat akin to the fate of the biblical heroine. For it too stands as a kind of lone Moabite among the Israelites, an outsider fiction seeking religion's readmission to the vital debates about feminism, social realism, and the role of fiction in social change, and promising that it can go whither they go. 2 A Moabite among the Israelities: Ruth, religion, and the Victorian social novel _____ Ruth (1853) is the least popular and least interesting of all Elizabeth Gaskell's novels to modern readers. Something of an anomaly in Gaskell's oeuvre, it is jammed awkwardly between the two kinds of fiction for which she is best known: Manchester factory novels; and comic-melancholic idylls of small-town and village life in the hinterlands of the manufacturing and commercial centres. Like Mary Barton (1848) and North and South (1854), which frame it, Ruth is a novel with a purpose, directing its readers' attention and sympathies to the 'great social evil.' 1 But its story 'lies far from all class-feelings, from all the subjects for blue-books and commissions of inquiry,' as one of its first reviewers remarked. 2 It has none of its predecessor's sprawling and unruly vitality, but a distinctive compactness of scene and character. Its 'subject is less grand, less inspiring; there is no attempt to produce a modern epic in the guise of a novel, to embody the sufferings and the lives of a class which is counted by millions.' 3 Nor does romantic love play any part in the resolution of Ruth. Gaskell was determined not to use romance, as she had done in Mary Barton and would do in North and South, as a 'regulating law between both parties' 4 to provide 'imaginary or "formal" solutions' to what were in reality 'unresolvable social contradictions' 5 in the public sphere. Most of all, though, Ruth is disliked now for its uncomfortably int...