"The significant other to the Victorian Novel" presents contextual and significant information regarding the whole variety of British fiction released among 1837 and 1901. presents contextual and significant information regarding the full variety of British fiction released throughout the Victorian interval. Explains matters akin to Victorian religions, type constitution, and Darwinism to people who are surprising with them. includes unique, available chapters written by means of well known and rising students within the box of Victorian stories. excellent for college students and researchers looking up to the moment assurance of contexts and developments, or as a place to begin for a survey path.
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Additional info for A Companion to the Victorian Novel
Before the penny post, a laborer might occasionally receive a letter, but he often had to find someone to read it to him and compose a reply. By the end of the century most working people knew how to write, after a fashion, though the writing they had been taught in school usually consisted of copying and penmanship, not the art of composing a letter. The penny post made possible the organization of nationwide trades unions, which used the service to communicate with local branches. It called into existence a new weapon of democratic politics: the mass mailing, first used effectively by the Anti-Corn Law League.
Mays Dickens’s novels – so much so that when Arthur Waugh became head of the firm in 1902 he was warned that “If it wasn’t for Dickens . . we might as well put up the shutters to-morrow” (Waugh 1930: 102). Such competition required publishers to devote ever-larger sums to devising evermore splashy types of publicity and encouraged authors to promote themselves by granting interviews and getting into the gossip columns. Novelists were thus led to become avid participants in a cult of celebrity that was encouraged by, and itself encouraged, the illustrated magazines; periodicals devoted specifically to literary news and gossip, including the Bookman (founded 1891) and The Times’s Literature (1897); books such as The Art of Authorship (1890) and Homes and Haunts of Famous Authors (1906); and bestselling novels about novelists and the publishing world, such as Besant’s All in a Garden Fair (1883), Rudyard Kipling’s The Light that Failed (1890), Gissing’s New Grub Street (1891), and Marie Corelli’s The Sorrows of Satan (1895).
As a result, such writers prided themselves on appealing not to the masses, but to those few who could be counted on to share similar backgrounds, experiences, and values – what Edmund Gosse called, in a letter to Hardy, “your own confrères,” “the serious male public” (quoted in McDonald 1997: 7). This hostility toward “the reading multitude” also expressed itself in rebellion against the traditional rules governing fictional propriety and in a conviction that the novelist who followed such rules, like the novelist who wrote for money, would inevitably – as Hardy wrote – “belie his literary conscience” (1967: 130).