print of Shakespear's fiction for many decades. She dedicated The False Laurel, published in 1896, to Lionel Johnson. The plot features a poetess who falls in love with and marries an insipid young poet, giving up her own writing to attend to his needs. She becomes bored, writes a successful play, and then goes mad. The False Laurel was the least successful of her books, selling fewer than 200 copies. It received a poor review from The Bookman but a good one from The Athenaeneum. Rupert Armstrong was published in 1899 by Harper and Brothers, dedicated to Valentine Fox. In this, the fourth of her novels, Harwood believes her writing and voice became more original. The complicated plot—a mother and daughter struggle for "possession of the [father's] artistic soul"—shows hints of incestuous love, a theme found in her later work. Written during the affair with Yeats, Harwood sees the characters presented "in a precise, bitter intensity unlike anything in the earlier work". The Devotees was published by Heinemann in December 1900. Like Rupert Armstrong, the plot of The Devotees depicts a mildly incestuous love: a young man and girl, raised together since childhood, devote themselves for decades to his drug-addicted mother before they marry. The reviews were mostly unkind. Olivia's final novel, Uncle Hilary, was published in 1910 and is considered her best work. Of Uncle Hilary Jane Eldridge Miller writes in Rebel Women: Feminism, Modernism, and the Edwardian Novel, "Shakespear demonstrates the ways in which that ideal leads to disillusionment and resentment". In the complicated plot a young woman unwittingly marries her stepfather, leaves him, and accepts a marriage proposal from her guardian. Harwood believes her loveless marriage, the love affair with Yeats, the frustration with Dorothy, and Pound's unfaithfulness to Dorothy, built in her a strength and acceptance of life that bordered on the spiritual and she no longer needed to write. Miller writes that in the novel Olivia explores "marriage laws, divorce, and bigamy", with a focus on the nature of romantic love—rejected in favour of spiritual and intellectual pursuits. Leon Surette writes in The Birth of Modernism, Olivia's Uncle Hilary highlights the ties between spiritualism, occultism and feminism, seeing Uncle Hilary as a feminist novel which he describes as "quite readable". Jane Miller characterises the works as "marriage problem" novels in which the wife confronts the reality of marriage, its restrictions, and the need to achieve