In Dear Faustina (1897), Rhoda Broughton positions the New Woman as a morbid and immoral sexual predator, who permanently taints Victorian middleclass sisterhood by transgressively merging the roles of lover and sister, and whose victims can only be truly rescued from the New Woman's degenerate sexuality by the heteronormative institution of marriage and reform work modeled on the middle-class home. This anti-New Woman novels explores late-Victorian anxieties about women's increasing involvement in the public sphere through reform work and concerns over the passionate nature of women's relationships with other women in the organizations they formed to do philanthropic work. Acknowledging the compelling nature of reform work for middle-class women and yet also highlighting danger of the class and sexual boundary crossing encouraged by such work, Broughton seeks to provide a new model of heterosexual marriage that allows women to do social reform work within a semi-private, domestic, and paternalistic model.