Although critics have studied extensively the Gothic writings of Charlotte Dacre (Rey, King, Rosa Matilda), they have rarely discussed her work as Jewish writing, and they have largely ignored the poetry and fiction of her younger sister Sophia King (Fortnum). In fact, both sisters, daughters of perhaps the most well-known Jew in England at the time, John King (Rey), never severed connections with their father and wrote both directly and obliquely as Jewish women; moreover, they were read as Jewish women. The historical trauma of the Jewish expulsion from Iberia and the persecution by the Inquisition is reflected in the writings of these Sephardic women. Fearlessly innovating within the Gothic, sentimental, and philosophical traditions of writing, they also subversively played against sexual stereotypes, linking their work to women like Aphra Behn and Eliza Haywood, and anticipating the sexually explicit work of Philip Roth and I. B. Singer. Moreover, their use of the supernatural draws upon Jewish traditions of dybbuks and demons in the past and in the future. Reading the work of Charlotte Dacre and Sophia King re-inscribes the importance of Jewish contexts within Romantic aesthetics.