Beginning with the "Analytical Reviews third issue, Mary Wollstonecraft became the key editor for dramas, romances, and novels. Scholars have speculated that her reviews are signed by the letters "M", "W", or "T", corresponding roughly to her initials, in large part because they have identified her writing style in these pieces. Her reviews, which number over 200, are generally characterized by their concern for women's issues. Wollstonecraft scholar Mitzi Myers concludes that Wollstonecraft "is not only a pioneer feminist, but also a pioneer feminist critic, whose analysis of the mesh between gender and genre inaugurates the feminist critical project". Wollstonecraft wrote excoriating reviews, criticizing the passive novelistic heroines of the time and praising, for example, the "wise and resilient" Mrs Stafford of Charlotte Smith's autobiographical novel "Emmeline" (1788). In highlighting this character, she "singles out ... the knowledgeable mother figure who has felt and thought deeply", one who resembles the women she described in "A Vindication of the Rights of Woman" (1792) as having "power ... over themselves". She derides the "derivative, prescriptive, imitative, and affected" and celebrates the "natural, innovative, imaginative". Evincing a particular regard for the works of Thomas Holcroft, such as "Anna St. Ives" (1792), Wollstonecraft celebrated their championing of innate nobility and virtue over aristocratic titles. Romanticist Anne Chandler argues that Wollstonecraft's reviews demonstrate "an earlier Augustan politics of knowledge, variously outlined by Dryden, Pope, and, to a lesser extent, Swift" which "may be seen in her insistence on a continuum between aesthetic integrity and civic virtue; her belief in a metaphysical dialogue between human wit and divine Nature; and her perception of belletristic criticism as the proper tribunal for a new onslaught of scholarly and scientific research". While writing her last novel, ' (1798), Wollstonecraft took advantage of her position with Johnson and reviewed almost nothing but novels, exposing herself to the wide variety of novelistic forms.