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It should not be possible to read nineteenth-century British literature without remembering that imperialism, understood as England's social mission, was a crucial part of the cultural representation of England to the English. The role of literature in the production of cultural representation should not be ignored. These two obvious "facts" continue to be disregarded in the reading of nineteenth-century British literature. This itself attests to the continuing success of the imperialist project, displaced and dispersed into more modern forms. If these "facts" were remembered, not only in the study of British literature but in the study of the literatures of the European colonizing cultures of the great age of imperialism, we would produce a narrative, in literary history, of the "worlding" of what is now called "the Third World." To consider the Third World as distant cultures, exploited but with rich intact literary heritages waiting to be recovered, interpreted, and curricularized in English translation fosters the emergence of "the Third World" as a signifier that allows us to forget that "worlding," even as it expands the empire of the literary discipline. It seems particularly unfortunate when the emergent perspective of feminist criticism reproduces the axioms of imperialism. A basically isolationist admiration for the literature of the female subject in Europe and Anglo-America establishes the high feminist norm. It is supported and operated by an information-retrieval approach to "Third World" literature which often employs a deliberately "nontheoretical" methodology with self-conscious rectitude. In this essay, I will attempt to examine the operation of the "worlding" of what is today "the Third World" by what has become a cult text of feminism; Jane Eyre. I plot the novel's reach and grasp, and locate its structural motors. I read Wide Sargasso Sea as Jane Eyre's reinscription and Frankenstein as an analysis--even a deconstruction--of a "worlding" such as Jane Eyre's.