Jane Austen arranged for his sister to be buried in the north aisle of the nave of Winchester Cathedral. The epitaph composed by her brother James praises Austen's personal qualities, expresses hope for her salvation and mentions the "extraordinary endowments of her mind", but does not explicitly mention her achievements as a writer. After Austen's death, Cassandra, Henry Austen and Murray arranged for the publication of "Persuasion" and "Northanger Abbey" as a set. Henry Austen contributed a "Biographical Note" which for the first time identified his sister as the author of the novels. Tomalin describes it as "a loving and polished eulogy".
Reception history of Jane Austen used realism as a way of attacking patriarchy from the outside as opposed to subverting it from within by irony as Gilbert and Gubar claimed. The interest generated in Austen by these critics led to the discovery and study of other woman writers of the time. Moreover, with the publication of Julia Prewitt Brown's "Jane Austen's Novels: Social Change and Literary Form" (1979), Margaret Kirkham's "Jane Austen: Feminism and Fiction" (1983), and Claudia L. Johnson's "Jane Austen: Women, Politics and the Novel" (1988), scholars were no longer able to easily argue that Austen was "apolitical, or even unqualifiedly 'conservative'". Kirkham,