By Jenny Bourne Taylor
Wilkie Collins was once essentially the most renowned writers of the 19th century. he's most sensible identified for the lady in White, which inaugurated the feeling novel within the 1860s, and The Moonstone, one of many first detective novels; yet he wrote over 20 novels, performs and brief tales in the course of a profession that spanned 4 a long time. This better half bargains a desirable evaluation of Collins's writing. In a variety of essays via top students, it lines the advance of his profession, his place as a author and his complicated relation to modern cultural routine and debates. Collins's exploration of the tensions which lay underneath Victorian society is analysed via a number of severe ways. A chronology and consultant to extra examining are supplied, making this e-book an necessary consultant for all these attracted to Wilkie Collins and his paintings.
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Extra resources for The Cambridge Companion to Wilkie Collins (Cambridge Companions to Literature)
Example text
36. 37. 38. exhibition of contemporary art, that of the Royal Academy, caused tremendous interest and excitement each year’ (Gillett, Victorian Painter’s World, p. 13). Alan Swingewood, Cultural Theory and the Problem of Modernity (Basingstoke: Macmillan, 1998), p. 144. Raymond Williams, The English Novel from Dickens to Lawrence (London: Paladin, 1970), pp. 11, 28. Henry James, ‘Miss Braddon’, Nation, 9 November 1865; CH, p. 123. T. S. ), The Victorian Novel: Modern Essays in Criticism (New York: Oxford University Press, 1971), p.
It was an interesting conjunction, as Bulwer-Lytton’s historical novels had provided the model for Collins’s work in that genre, and now Collins moved into Dickens’s orbit. Between Basil and The Woman in White (1860), the story of Collins’s career is one of increasing involvement with Dickens, as contributor to and then staff member on Household Words, and finally as collaborator. In this period Collins developed the distinctive narrative characteristics of the great 1860s novels: the plotting skills, the multiple narrative method and the subversive, bourgeois-baiting, authorial persona.
He recognised that in England in the 1850s and 1860s, modernity was experienced not as Dickens had imagined it in the more restive 1830s and 1840s, as a tumult of productive and destructive energy and change, but rather as an insidious, compulsory ordinariness. 24 But in Collins the experience of modernity itself does not misshape the entire novelistic world as it does Dickens’s world. 25 For what is Dickens’s London to us, or we to it? After the 1860s, everything in Dickens, even the ‘bran new’ Veneerings (in Our Mutual Friend, 1864–5), feels older, different.