of romance." Sherwood also wrote a companion story titled Little Lucy and her Dhaye (1825) that told a similar tale. The Indian Pilgrim (1818) demonstrates Sherwood's religious biases: "Muslims and Jews receive better treatment than Hindus because of their belief in one God, but Roman Catholics fare little better than the Hindu idolaters." The Indian Pilgrim, though never published in India, was popular in Britain and America. Sherwood also wrote texts for Indian servants of British families in the style of British writings for the poor. One such was The Ayah and Lady (1813) in which the ayah or maid is "portrayed as sly, selfish, lazy, and untrustworthy. Her employers are well aware of her faults, yet they tolerate her". A more culturally sensitive and realistic portrayal of Indians appears in The Last Days of Boosy (1842), a sequel to The History of Little Henry and his Bearer, where the converted Boosy is cast out of his family and community after his conversion to Christianity. Sherwood's writings on India reveal her sense of superiority over the inhabitants of India; the subcontinent therefore appears in her works as a morally corrupt land in need of reformation. She wrote The History of George Desmond (1821) to warn young men of the dangers of emigrating to India. Sherwood's books shaped the minds of several generations of young Britons. According to Cutt, Sherwood's depictions of India were among the few available to young British readers; such children "acquired a strong conviction of the rightness of missions, which, while it inculcated sincere concern for, and a genuine kindness towards an alien people for whom Britain was responsible, quite destroyed any latent respect for Indian tradition." Using a postcolonial analysis, Nandini Bhattacharya emphasizes the complex relationship between Sherwood's evangelicalism and her colonialism. She argues that Sherwood's evangelical stories demonstrate the deep colonial "mistrust of feminized agency", represented by a dying child in Little Henry and his Bearer. Henry "subvert[s] the colonialist's fantasy of universal identity by generating a subaltern identity that mimics and explodes that fantasy". But ultimately, Bhattacharya argues, Sherwood creates neither a wholly colonialist text nor a post-colonial text; the deaths of children such as Henry eliminate any possibility for an alternative consciousnesses to mature. Later writings: Victorianism By 1830, Sherwood's works had drifted from evangelicalism and reflected more conventional Victorian plots and themes. For example, Gipsy Babes (1826), perhaps inspired by Walter Scott's