Gillooly Contemporary

Contemporary
Dickens
Gillooly_final.indb 1 10/23/2008 2:02:53 PM

Contemporary
Dickens
E d i t ed b y
E i l ee n G i l l o o ly
and
D e i r d r e D av i d
T h e O h i o S t a t e U n i v e r s i t y P r e ss · C o l u m b us

Copyright © 2009 by The Ohio State University.
All rights reserved.
Library of Congress Cataloging-in-Publication Data

Contemporary Dickens / edited by Eileen Gillooly and Deirdre David.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-8142-0285-2 (cloth : alk. paper)
1. Dickens, Charles, 1812–1870—Criticism and interpretation. I. Gillooly, Eileen.
II. David, Deirdre
PR4588.C639 2009
823'.8—dc22
2008034051
This book is available in the following editions:

Cloth (ISBN 978-0-8142-0285-2)
CD-ROM (ISBN 978-0-8142-9045-3)
Cover design by Amelia Saul

Typesetting and design by Jennifer Shoffey Forsythe
Type set in Adobe Sabon
Printed by Thomson-Shore, Inc.
The paper used in this publication meets the minimum requirements of the American
National Standard for Information Sciences—Permanence of Paper for Printed Library Materi-
als. ANSI Z39.48-1992.
9 8 7 6 5 4 3 2 1

For Steven Marcus

Contents
Acknowledgments ix
Abbreviations xi
Introduction 1
Deirdre David and Eileen Gillooly
Part One: Ethics and Narrative
1 Dickens, Secularism, and Agency

George Levine 13
2 Dickens and the Goods

Robert Newsom 35
3 The Poverty of Charity: Dickensian Sympathy

Nancy Yousef 53
4 Uncanny Gifts, Strange Contagion: Allegory in The Haunted Man

John Bowen 75
5 Storied Realities: Language, Narrative, and Historical Understanding

Richard H. Moye 93
Part Two: Material Culture
6 So, This Is Christmas

Joseph W. Childers 113
7 Green Dickens
Karen Chase and Michael Levenson 131

Contents
8 Commodity Criticism and Victorian Thing Culture:

The Case of Dickens
Elaine Freedgood 152
9 Funny Money
Tatiana M. Holway 169
10 Enumeration and Exhaustion: Taking Inventory in

The Old Curiosity Shop
James Buzard 189
Part Three: Contextual Reading
11 Paterfamilias
Eileen Gillooly 209
12 Reading with Buzfuz: Dickens, Sexuality, Interrogation

James Eli Adams 231
13 Little Dorrit’s Theater of Rage

Deirdre David 245
14 The Making of Dickens Criticism

Deborah Epstein Nord 264
Bibliography 289
Notes on Contributors 305
Index 309
viii

Acknowledgments
This collection traces its beginnings to a gathering of scholars at the annual

CUNY Victorian Conference in 2003, a conference famous in nineteenth-
century British studies circles as much for its collegiality as for its intellectual
quality. Several of us who were gathered together at lunch that day—some
of whom had never met before—discovered in conversation that we had all
written our dissertations, over a span of two or more decades, under the
supervision of Steven Marcus. One or two colleagues at the table—Oxo-
nians, we recall—commented that “it showed”: that is, that the work of
those of us who had been students of Marcus (many of whose work is rep-
resented in this volume) shared not only an enduring fascination with Dick-
ens but—regardless of great differences in interests, style, and theoretical or
critical allegiances—an identifiable interpretive ethos. As Marcus remarks on
the occasion of the reissue of his Representations: Essays on Literature and
Society in 1990, “the critical study” of literature and language “in an actual
historical world, and in a culture in which we are all intractably situated,
seems to me still a worthwhile thing to do” (x). And so, too, does it seem to
those whose essays are included here and who have learned so much from his
example.
We wish to thank a number of colleagues who in various ways assisted
Contemporary Dickens into being. Among these are Gerhard Joseph and
Barry Qualls, as well as all who participated in “The Long Nineteenth Cen-
tury” conference at Columbia University in October 2005, including Jona-
than Arac, Rita Charon, Arnold Cooper, Andrew Delbanco, George Levine,
ix

Acknowledgments
Eric Lott, Deborah Epstein Nord, James Olney, Jonah Siegel, and Patricia
Meyer Spacks. The contributing authors to this volume were remarkable
not only for the quality of their essays but also for their eager participation,
unfailing good humor, steady (though not untested) patience, and noteworthy
timeliness in meeting deadlines. Deb Nord deserves special thanks—being,
in the initial stages of this project, a coeditor in all but name—as do Jesse
Rosenthal, for willing and able indexing, and Sandy Crooms, our editor at
The Ohio State University Press, for her enthusiastic and energetic support.
A part of Elaine Freedgood’s essay, “Commodity Criticism and Victorian
Thing Culture: The Case of Dickens,” first appeared in a different form in the
Coda of The Ideas in Things: Fugitive Meaning in the Victorian Novel (Chi-
cago: University of Chicago Press, 2006). We wish to thank the University of
Chicago Press for permission to reprint. We also wish to thank the University
Seminars at Columbia University for their help in publication. Many of the
ideas herein benefited from discussions in the University Seminar: Modern
British History.
A note on the text: Following John O. Jordan’s example in The Cam-
bridge Companion to Charles Dickens, we give parenthetical references to
chapter numbers of Dickens’s novels (or to book and chapter number where
applicable) rather than to specific editions, since too many of these are in
circulation to make such citation useful to our readers. Unless the text under
discussion is clear in context, it is identified by its initials (e.g., PP, OT, NN,
etc.). The Letters of Charles Dickens (Pilgrim Edition) and John Forster’s Life
of Dickens are also noted parenthetically (see Abbreviations).

Abbreviations
References to the novels are by book (where applicable) and chapter, unless
otherwise noted.
BH Bleak House
BR Barnaby Rudge
CC A Christmas Carol. References are to stave.
DC David Copperfield
DS Dombey and Son
ED The Mystery of Edwin Drood
GE Great Expectations
HM The Haunted Man
HT Hard Times
LD Little Dorrit
MC Martin Chuzzlewit
NN Nicholas Nickleby
OCS The Old Curiosity Shop
OMF Our Mutual Friend
OT Oliver Twist
PP The Pickwick Papers
SB Sketches by Boz. References are to title of sketch.
TTC Tale of Two Cities
UT The Uncommercial Traveller
Forster The Life of Charles Dickens. References are to volume and page.
LCD The Letters of Charles Dickens. The Pilgrim Edition. Madeline
House, Graham Storey, Kathleen Tillotson et al., eds. (Oxford: Clar-
endon Press, 1965–2002). References are to volume and page.
xi

Introduction
D ei r d r e Davi d an d Eil ee n Gillooly
No other author in the English-speaking world occupies quite the place in

both the popular consciousness and the literary tradition as Charles Dick-
ens. On the one hand, he is, as John Jordan has noted, “widely recognized
as the preeminent novelist of the Victorian age and a major figure in world
literature”—at once both quintessentially English and internationally influ-
ential, animating the novels of Dostoevsky as vividly as those of Mark Twain
or, more recently, Peter Carey.1 On the other hand, he is known to millions
who have never read a word he penned. Only the Bard enjoys greater name
recognition, yet the adjective “Dickensian” conjures a more vivid set of
associations than does “Shakespearean,” and Scrooge cuts a more familiar
figure in our market-driven global economy than Lear or Hamlet or Mac-
beth. Although the Victorians as a whole constitute a source of nostalgic
fascination for contemporary audiences (witness the relentless production in
recent decades of television miniseries based on nineteenth-century novels),
Dickens’s appeal is of a special kind—owing not only to his formidable pow-
ers of imagination and description, his staggering output, and his persistent
presence in our collective unconscious, but also to his having himself per-
sonally ruminated upon so many of the social problems, values, and ways
of knowing that currently engross us. Almost every contemporary concern
that can be traced back to the nineteenth century—from financial credit and
social welfare to secularism and commodity culture—seems to have elicited
some sort of response from the Inimitable.

Introduction
It is not surprising, then, that Dickens—sneered at, condescended to, or

simply dismissed by a great many early-twentieth-century modernists—should
have become, as Deborah Epstein Nord notes (in the final essay of this vol-
ume), a favorite object of critical inquiry during our own historical period.
Since the mid-twentieth century, scores of monographs and essay collections
attest to his remarkable and eclectic topicality. As the Longman Critical
Reader (1996), edited by Steven Connor, points out, “the very contradictions
within Dickens’s writing which posed such a problem for earlier critics, now
offer enormous interpretive opportunities for contemporary issues such as lan-
guage, gender, selfhood, space and power.”2 As a whole, Dickens criticism cur-
rently values the ease with which his literary corpus yields to the pressure of
late-twentieth-century theoretical preoccupations. Dickens Refigured: Bodies,
Desires and Other Histories (1996), for example—a collection of essays edited
by John Schad—sets out to identify “the foreign bodies” and their “desires,
histories” that populate “Dickens’s fiction and prose.”3 Dickens and the Chil-
dren of Empire (2000) and Dickens, Europe and the New Worlds (1999) are
similarly focused on “foreign bodies,” but of a more material sort: while the
former seeks both to unpack the imperial analogy—pervasive in Dickens’s
writing—between children and colonized peoples and to reconsider Dickens
from a postcolonial perspective that has “re-envisaged” the center and the
periphery, the latter considers Dickens from both “global” and “regional”
points of view, often placing him within new conceptual worlds as well: “new
media (film, television, the internet) and new theoretical frames (feminist,
postcolonial).”4 Perhaps the most satisfying, because the most comprehensive,
of the recent essay collections is the Cambridge Companion to Charles Dick-
ens (1999), which covers “the full span” of Dickens’s fiction from a number
of thematic, formal, and theoretical approaches. In offering considerations
of Dickens on “childhood, the city, and domestic ideology” as well as of his
serial publication, his “distinctive use of language,” and his “relation to work
in . . . illustration, theatre, and film,” it suggests both the variety of Dickens’s
own investments and the diversity of critical engagements his work prompts.5
Although Contemporary Dickens is similarly committed to presenting
some of the most intriguing work being undertaken in Dickens studies today,
it differs conceptually from recent collections in two important respects. First,
it seeks to disclose the nineteenth-century origins of many of those issues
that currently absorb us: not only was Dickens fully contemporary with his
age—his concerns, enthusiasms, and ways of knowing and representing being
shared by, often shaping, those of his contemporaries—but he is also our
contemporary. As Anny Sadrin points out, Dickens was both “a great Victo-
rian” and “a great precursor of Modernity.”6 From constructions of gender

and sexuality to environmentalism and Englishness: such areas of inquiry

currently in high fashion—areas often assumed to have been epistemologi-
cally unavailable to critics before the late twentieth century—are shown in
these essays to have been identified, pondered, and sometimes even prob-
lematized by Dickens himself. In their Introduction to Disciplinarity at the
Fin de Siècle, Amanda Anderson and Joseph Valente argue that “interdiscipli-
narity”—“dominated by the figure of Michel Foucault” in its most popular
and recognizable guise as cultural studies—“can only lay claim to the kinds
of theoretical and practical ‘breaks’ that it assigns itself by distorting or sup-
pressing its relation to the past.”7 Like the essays in Disciplinarity and other
recent work by Anderson and others, the essays collected in Contemporary
Dickens explore the genealogy of contemporary ideas and question the origi-
nality of our current ways of knowing: upon examination, postmodern epis-
temology appears to be less a “break” from our Victorian past than a feature
of its development.8
The second primary contribution of this volume lies in its illuminating
the particular importance of Dickens, particularly late Dickens—as a novel-
ist, reformer, activist, ethicist, psychologist, anthropologist, and biographical
subject—in the critical reassessments being undertaken across the disciplines.
As we are clearly not the first to notice, the popularity of “high theory” in
departments of literature has subsided, and though “new historicism” remains
strong, there are new currents in twenty-first-century literary criticism, new
approaches—often eclectic or hybrid—to topics that once seemed, to critics
writing in the final decades of the late twentieth century, to be exhausted of
interest. Moral philosophy, the psychology of the emotions, liberal theory,
life writing, nationalism and national character: all are being rediscovered as
compelling objects of study, competing successfully for attention with race,
gender, class, sexuality, ethnicity, and other such modes of analysis that have
dominated professional inquiry in recent years. Far from representing a nos-
talgic return, however, Contemporary Dickens looks at these once-familiar
topics from fresh perspectives that take into account the vital contributions
made by Marxist, feminist, deconstructive, psychoanalytic, new historical,
and other late-twentieth-century strategies of reading.
n n n
We have grouped the essays under three headings that we believe raise ques-
tions and concerns that not only are of current critical interest but also, in
many cases, caused Dickens himself to ponder. The essays collected in Part
One, “Ethics and Narrative,” explore the multiple and sometimes conflict-

Introduction
ing ways in which Dickens gave narrative form to the moral and religious
anxieties of his age. In chapter 1, “Dickens, Secularism, and Agency,” George
Levine begins with the claim that the Victorian novel resists at almost every
turn a providential explanation for social difficulty. Dickens’s novels, perhaps
more pervasively than those of any other Victorian writer, strikingly and par-
adoxically reveal this secularity in their own insistence on the providential.
With Little Dorrit as his representative example, Levine analyzes Dickens’s
elaboration of the raw secularity of the world that presses upon the overtly
Christian framework of the novel, embodied in the diminutive person of Amy
Dorrit. For Levine, this most somber and densely plotted of Dickens’s nov-
els reveals a struggle to fit an ethical resolution of social misery within the
narrative frame of providential explanation: his analysis discloses Dickens’s
engagement with issues of moral philosophy that press upon us today, par-
ticularly the debates about secularism, creationism, and intelligent design.
In chapter 2, “Dickens and the Goods,” Robert Newsom charts the bio-
graphical and intellectual forces that shaped Dickens’s understanding and
shows that virtually all of his narratives, from Sketches by Boz to Our Mutual
Friend, are driven by a powerful ethical imperative: simply put, the “goods”
of religion, for Dickens, rest in a duty to do good, here and now. Unembar-
rassed about the transparency of his moral positions, Dickens returns again
and again to the simple but challenging question of what is good and what is
evil, and Newsom—in showing how the novels advance an imperative to be
useful, to do good, and to bring happiness to all—explores the mix of Utili-
tarian and “Christian” values that characterize the ethics of Liberalism, as we
have inherited it from the Victorians.
Offering such moral instruction as that delivered by Betsey Trotwood
in David Copperfield (“Never be mean in anything, never be false, never be
cruel”) as a remedy for social malaise has long subjected Dickens to charges
of sentimentalism. In “The Poverty of Charity: Dickensian Sympathy” (chap-
ter 3), Nancy Yousef defends Dickens against what some critics have seen as
an embarrassing aspect of his art. Arguing that such charges betray a general
suspicion of affective display, Yousef considers Dickens’s engagement with
the problems of philanthropy as part of an intellectual tradition reaching
back to the eighteenth century and forward to contemporary debates within
ethical theory. If Levine and Newsom find unresolved conflicts and unambig-
uous moral imperatives in Dickens’s narratives, then Yousef places Dickens’s
engagement with those conflicts and imperatives in a history of moral phi-
losophy.
Whether ambiguous or transparent, Dickens’s ethical narratives depend
upon storytelling, yet, as Richard H. Moye notes, the Victorians regarded

the making up of stories with moral suspicion. Taking Hard Times as his
example, Moye argues in “Storied Realities” (chapter 5) that while Dickens
accepted the inevitability of making fictions (how else, after all, can we know
our own past or understand our nation’s history?), he also insisted that we
choose our narratives wisely if we are to constitute a viable moral commu-
nity: we must have healthy stories, enabling fictions, that allow us to know
and to love one another. In Hard Times, Dickens teaches us to recognize the
“good” fiction from the “bad,” to marvel at Sissy Jupe’s inventive imagina-
tion and to despise Bounderby’s self-serving fictional biography.
The ethical significance of narrative is equally crucial in John Bowen’s
analysis of The Haunted Man, a strange, melancholy, and neglected text.
Exploring the relationship between adult life and childhood misery (Dickens
wrote The Haunted Man just before beginning David Copperfield), Bowen
shows in chapter 4 that Dickens’s exploration of memory has a close affinity
with certain nineteenth-century psychological theories of split and doubled
minds and with debates about the nature of material and psychic conserva-
tion. Identifying a narrative of family thick with strange figures, weird rep-
etitions, and ghostly effects, Bowen also elaborates its ancillary meaning as
a social and political allegory that emphasizes the nature of ethical respon-
sibility to the poor. The Haunted Man thus both investigates the persistent
strangeness of the self and defines the nature of our ethical and social obliga-
tions to others.
By virtue of the Inimitable’s seemingly inexhaustible interest in every-
thing around him, the essays gathered in Part Two under the rubric “Material
Culture” explore such phenomena as Dickens’s participation in the Victo-
rian construction of Christmas, his preoccupation with the environment, his
obsession with a world of things, his appearance on a ten-pound note, and
his postulation of a tension between a world of stilled moral perfection and
a world of movable, mutable objects. In “So, This Is Christmas” (chapter
6), Joseph W. Childers sets out to answer many questions that arise from the
conjunction of Christmas and English national identity: among them, what
different roles, depending on social class, did individual English people play
in constructing a national experience of Christmas? Childers argues that the
best-known version of Christmas, coded in Dickens’s A Christmas Carol,
is specifically and indelibly English: its concerns include the contemporary
problem of the poor, a particularly English school of political economy, and
the traditions of English Christmases past. At the heart of this version of
Christmas is a basic contradiction: on the one hand, an insistence on a muted
Christian socialism that restores human sympathy and, on the other, a cel-
ebration of the individual’s ability to effect social change.

Introduction
“Was Dickens green?” is the question posed by Karen Chase and Michael
Levenson in chapter 7. From Sketches by Boz to Our Mutual Friend, they
trace Dickens’s engagement with contemporary environmental issues—issues
that, by the middle years of his career, had reached emergency status in Lon-
don, always the site of what they term his “green reflections.” Not only was
Dickens a passionate campaigner for the retention of some “green spaces” in
the metropolis: the memory of pastoral is a constitutive principle of his fic-
tion. Linking modernization and social trauma, Dickens—from the coming
of the railway in Dombey and Son to the crisis of rags and paper explored
in Our Mutual Friend—emerges in this essay as a committed social activist,
likely supporting organic farming and protesting global warming, were he
alive today, as well as continuing to advocate for land conservation.
Elaine Freedgood’s primary interest (in chapter 8) is in making us grasp
the difference between what she terms a Victorian “thing culture” and what
we now broadly term “materialism.” We have lost our ability to appreciate
Dickens’s world of “things”—a world that he did not always present to the
reader as damning evidence of a heartless commodity culture. In an innova-
tive turn, Freedgood claims that it is the criticism of Dickens’s fiction that has
led us to underestimate the value of “things,” and she critiques that criticism
to unveil its misreading of the crowded Dickensian instantiation of the par-
ticular. Freedgood asks us to look through and beyond the materialist prism
that preoccupies so many in Dickens studies today: in Dickens and in Victo-
rian culture at large, not all objects are bad objects. If Nancy Yousef seeks to
recuperate Dickens’s oft-disdained sentimentalism, then Freedgood aims to
rescue Dickens from readings undertaken from the perspective of a reductive
materialist analysis.
Dickens on a ten-pound note—his many modes of utterance represented
by the titles of his novels appearing in small, faint print on the front of the
note and swirling behind the assertion “I Promise to Pay”—is the paper object
that constitutes the subject of Tatiana Holway’s essay (chapter 9). Where
Chase and Levenson concern themselves with the production of paper that
may be said to produce the ten-pound note, Holway is interested in what the
note itself signals: Dickens as literary capitalist, the embodiment of the con-
vergence of money, written language, and identity. Examining in great detail
the origins of modern attitudes toward paper money, Holway explores the
dramatic growth of a credit system that in mid-nineteenth-century England
led to the burgeoning of middle-class wealth through the accrual of interest
and to Dickens himself becoming a literary capitalist in more ways than one:
making investments with profits from the sale of his novels, expanding and
diversifying his business ventures, capitalizing on the republication of novels

in cheap editions, inventing himself through his writing, and using his name
as the ground for all of these representations.
While Holway draws our attention to both the symbolic and the literal
circulation of paper and representation, James Buzard (chapter 10) focuses
on Dickens’s delight in inventorying a world of literal and symbolic circulat-
ing currency. For Buzard, The Old Curiosity Shop is the most anti-Dickensian
of Dickens’s novels: the figure of Nell, always moving yet always emblematic
of a perfect stillness, threatens to negate the fecund power with which Dick-
ens multiplies characters and incidents and puts himself into circulation, as
it were, in the literary marketplace. If The Pickwick Papers is a novel whose
miraculous comic inventiveness may be described by the trope of inventory—
a list of separate items (characters and incidents) placed one after another,
preserved in their plurality—then in The Old Curiosity Shop, Buzard argues,
Dickens hurls against his own narrative-propagating powers the story-negat-
ing inertia of Nell. Her stillness—symbolic of a refusal to become an invento-
ried item—tends to make all the going to and fro that exists around her seem
empty and meaningless.
As we hope is apparent, close reading is a common trait of all of the
essays in Contemporary Dickens, but an especially important one to those in
Part Three, “Contextual Reading,” which examines select scenes and charac-
ters within the context of Dickens’s personal history or his greater historical
circumstances—circumstances that often resonate powerfully with our own.
Eileen Gillooly draws our attention in chapter 11 to Dickens’s parental affec-
tions, anxieties, and ambivalences. Beset by the challenges of his ever-increas-
ing family and the disappointments presented by his children (particularly his
sons, for whom he was especially ambitious), Dickens comes to find wish-
fulfilling relief in inventing alternatives to the nuclear family. The aggrieved
child, of course, is always at the center of Dickens’s narratives, but Gillooly
shows that Dickens occasionally pauses to consider the parent-child relation-
ship from other affective positions as well (Nicholas Nickleby’s mothering
of Smike, for example). Father to scores of children, fictional and otherwise,
Dickens consistently found his imaginative offspring easier to identify with
and to project upon than he did the biological sort. Indeed, in Bleak House,
he rewrites his personal domestic script with an altered cast of characters,
directing them in their roles as the ideal children missing from his own house-
hold.
By closely questioning the ways in which literary and cultural criticism
describes itself as a mode of “interrogation,” James Eli Adams in chapter 12
shows how the novel has become the principal territory for a hermeneutics of
suspicion. For contemporary critics, the Victorian novel, in particular, always

Introduction
has something to hide: it postulates the existence of a fundamentally private

subjectivity that results in making everything the subject of interrogation,
in bringing everything under suspicion, including the agency of the author.
For Adams, the Bardell v. Pickwick courtroom scene of Pickwick Papers is
the locus classicus within Dickens of such a way of reading. There Pickwick
functions as the innocent screen onto which are projected the interrogating
sexual suspicions of his audiences. Adams urges us to abandon our naïve
assumption that Victorian novelists did not know what they were up to in
representing sexuality, demonstrating that Dickens’s own engagement with
sexuality is a good deal cannier and more knowing than we have previously
acknowledged.
Deirdre David also asks us to reconsider what we think we know about
Dickens, to take into account not only the sentimentalized virtue of Dickens’s
women characters but also their destructive fury. “Little Dorrit’s Theater
of Rage” (chapter 13) examines Dickens’s ambiguous political response to
“the condition of women” question at the very moment he was composing
a novel giving powerful expression to some of his female characters’ feelings
of injury, injustice, and revenge. Miss Wade and Tattycoram, for two, reject
social codes of feminine conduct and instead stage numerous theatrical scenes
of vengeance—a mode of protest that utilizes nineteenth-century theatrical
“attitudes,” specifically rage and martyrdom. At the end of the novel, we see
Dickens beating a fainthearted retreat from a politically feasible, if fictional,
remedy for the social malaise that is the origin of women’s anger both in
Little Dorrit and in the public sphere at the time of its composition.
Whether we read Dickens from the perspective of narrative ethics, moral
philosophy, or materialist analysis, we do so within the context of prior Dick-
ens scholarship. In the final essay of this collection, Deborah Epstein Nord
considers how Dickens came to be such a rich and enduring subject of con-
temporary interpretation. “The Making of Dickens Criticism” (chapter 14)
examines the terms in which the best-known of Dickens’s detractors—George
Henry Lewes, Henry James, Virginia Woolf, and F. R. Leavis—evoked and
depreciated his fiction: the infantilism of his imagination, the inappropriate-
ness of his novels for the adult reader, his instinctive but uneducated talent.
Such disparagement was, nationally speaking, English. It was not until the
mid-twentieth-century, with the postwar emergence of Freudian and Marxist
readings of literature, that Dickens became, particularly in America, a com-
plex subject of sophisticated critical analysis. The “childishness” of his novels
was discovered—notably by Edmund Wilson and Lionel Trilling—to be a
fecund source of Freudian explications of the persistence of childhood within
adulthood, and his brilliant metaphor of society as prison (expressed most

fully in Little Dorrit) spoke powerfully to a population raw with memories of

World War II and yet tinged with political idealism.
Nord reminds us, too, of the importance of Steven Marcus to Dickens
studies. If Wilson and Trilling—along with Philip Collins, Humphry House,
and J. Hillis Miller—brought Bleak House, Little Dorrit, and Our Mutual
Friend to our critical attention, we owe the serious study of the early Dickens
to Marcus and his still-influential book Dickens from Pickwick to Dombey
(1965). Marcus is also among the first to have shown that a close reading
of texts widely judged to be nonliterary could be richly productive of local
literary meaning and broad cultural concepts. Indeed, as the author of The
Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth-
Century England, which Michel Foucault famously acknowledged to have
prompted him to write The History of Sexuality, he can be said to have
inspired a new mode of inquiry, one that we would now call cultural studies.9
Equally attuned throughout his writing to the political and the psychologi-
cal, to the material specificity of historical life as well as to the transhistorical
aspects of lived experience, Marcus has helped not only to make Dickens our
contemporary but to shape our contemporary habits of critical exploration
and analysis as well.
Notes
1. Jordan, Introduction, Cambridge Companion to Dickens, xix.

2. Connor, Charles Dickens, back cover.
3. John Schad, ed., Dickens Refigured, 1.
4. Wendy Jacobson, ed., Dickens and the Children of Empire, 11; Anny Sadrin,
Dickens, Europe and the New Worlds, xiii, x.
5. Jordan, Cambridge Companion, back cover, xx.
6. Sadrin, Dickens, Europe and the New Worlds, xiii.
7. Anderson and Valente, Disciplinarity at the Fin de Siècle, 8, 15.
8. Suzy Anger also traces the genealogy of our ways of knowing to the Victorians.
See Knowing the Past: Victorian Literature and Culture, edited by Anger, and her critical
study Victorian Interpretation.
9. Foucault, History of Sexuality, 4.

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303

Notes on Contributors
James Eli Adams teaches in the Department of English at Cornell University, where he is
Director of Graduate Studies. He is the author of Dandies and Desert Saints: Styles
of Victorian Masculinity (1995), the coeditor, with Andrew Miller, of Sexualities in
Victorian Britain (1996), and the editor-in-chief of the four-volume The Encyclope-
dia of the Victorian Age (2004). He is completing A History of Victorian Literature.
John Bowen is Professor of Nineteenth-Century Literature at the University of York.

He is the author of Other Dickens: Pickwick to Chuzzlewit (2000) and has coedited,
with Robert L. Patten, Palgrave Advances in Charles Dickens Studies (2006). He is
a Fellow of the English Association and currently serves as President of the Dickens
Society.
James Buzard is Professor and Head of the Literature Faculty at MIT. He has written
two books, Disorienting Fiction: The Autoethnographic Work of Nineteenth-Cen-
tury British Novels (2005) and The Beaten Track: European Tourism, Literature,
and the Ways to “Culture,” 1800–1918 (1993), as well as numerous essays on nine-
teenth- and twentieth-century British literature and culture, the history of travel,
and cultural theory. He is coeditor of a special Victorian Studies issue on “Victorian
Ethnographies” and of Victorian Prism: Refractions of the Crystal Palace (2007). He
is currently working on a second volume of the Disorienting Fiction study, covering
United Kingdom fiction from George Eliot to Joyce.
Karen Chase is a professor in the department of English at the University of Virginia.

She is author of Eros and Psyche: Representations of Personality in Charlotte Brontë,
Charles Dickens and George Eliot (1984), Middlemarch (Cambridge Landmarks in
World Literature Series, 1991), coauthor (with Michael Levenson) of The Spectacle
of Intimacy (2000), and editor of Middlemarch in the Twenty-First Century (2005).
She is currently completing a book, Aging with Care: The Victorian Life Reviewed.
305

Joseph W. Childers is Professor of English at the University of California, Riverside. He

has published widely on Victorian literature and culture. Most recently he has edited
Victorian Prism: Refractions of the Crystal Palace with James Buzard and Eileen Gil-
looly (2007) and Sublime Economy: Intersections of Aesthetics and Economics with
Jack Amariglio and Stephen Cullenberg (Routledge, forthcoming).
Deirdre David, Professor Emerita of English at Temple University, is the author, most
recently, of Fanny Kemble: A Performed Life (2007). Her other publications include
Fictions of Resolution in Three Victorian Novels (1981), Intellectual Women and
Victorian Patriarchy: Harriet Martineau, Elizabeth Barrett Browning, and George
Eliot (1987), and Rule Britannia: Women, Empire, and Victorian Writing (1995).
She has also edited The Cambridge Companion to the Victorian Novel (2000) and
is beginning work on her second biography, a study of the twentieth-century British
novelist Olivia Manning.
Elaine Freedgood, Professor of English at New York University, is the author of Vic-
torian Writing about Risk: Imagining a Safe England in a Dangerous World (2000)
and The Ideas in Things: Fugitive Meaning in the Victorian Novel (2006), and the
editor of Factory Production in Nineteenth-Century Britain (2002). Her new project
concerns how things lived in the nineteenth century.
Eileen Gillooly is Associate Director of the Heyman Center for the Humanities and
the Society of Fellows and a member of the Department of English and of the Insti-
tute for Research on Women and Gender at Columbia University. Her publications
include Smile of Discontent: Humor, Gender, and Nineteenth-Century British Fiction
(1999), which was awarded the Perkins Prize by the International Society for the
Study of Narrative, and Victorian Prism: Refractions of the Crystal Palace (2007),
which she coedited with James Buzard and Joseph Childers. Current project include
writing a book about parental feeling in nineteenth-century middle-class Britain and
revising the Norton Critical Edition of David Copperfield.
Tatiana M. Holway is a writer, editor, and independent scholar. She is currently work-
ing on a book about the Victoria regia water lily in nineteenth-century Britain, forth-
coming from Oxford University Press.
Michael Levenson is the author of A Genealogy of Modernism: A Study of English

Literary Doctrine, 1908–1922 (1984), Modernism and The Fate of Individuality:
Character and Form in the Modern English Novel (1991), Modernism (Yale Univer-
sity Press, forthcoming), and, with Karen Chase, The Spectacle of Intimacy: A Public
Life for the Victorian Family (2000). He is also the editor of the Cambridge Compan-
ion to Modernism (1999) and numerous essays on Victorian and Modernist subjects.
Michael Levenson is William B. Christian Professor of English at the University of
Virginia.
George Levine is Professor Emeritus at Rutgers University and Distinguished Scholar

in Residence, New York University. His most recent books are Darwin Loves You:
306

Natural Selection and the Re-enchantment of the World (2006) and How to Read
the Victorian Novel (2007). His Realism, Ethics, and Secularism: Essays in Victorian
Studies and Literature will be published by Cambridge University Press in 2008.
Richard H. Moye is Professor of English and Chair of the Department of English

and Philosophy at Lyndon State College, a small college in northeastern Vermont.
Although a specialist in nineteenth-century British literature and culture, he has
taught a wide range of courses, from Mythology and the Bible as Literature to semi-
nars on Dickens, Austen, Joyce, and Dante. His essays include “In the Beginning:
Myth and History in Genesis and Exodus,” “Thucydides’ ‘Great War’: The Fiction in
Scientific History,” and “Silent Victory: Narrative, Appropriation, and Autonomy in
La Princesse de Clèves.”
Robert Newsom is Professor Emeritus of English at the University of California, Irvine.

He holds degrees from Columbia University (where Steven Marcus taught him fresh-
man composition, and just about everything else about literature and society, and
eventually supervised his dissertation) and Cambridge University. He is the author
of Dickens on the Romantic Side of Familiar Things (1977), A Likely Story: Prob-
ability and Play in Fiction (1988), and Charles Dickens Revisited (2000), in addition
to essays and reviews.
Deborah Epstein Nord is a member of the English Department at Princeton Univer-

sity, where she also teaches in the Program in the Study of Women and Gender. She
is the author of The Apprenticeship of Beatrice Webb (1985), Walking the Victorian
Streets: Women, Representation, and the City (1995), and Gypsies and the British
Imagination, 1807–1930 (2006), and the editor of John Ruskin’s Sesame and Lilies
(2002).
Nancy Yousef is Associate Professor of English at Baruch College and the Gradu-
ate Center of the City University of New York. She is the author of Isolated Cases:
The Anxieties of Autonomy in Enlightenment Philosophy and Romantic Literature
(2004) and is currently at work on a book-length study of intimacy in literature, phi-
losophy, and psychoanalysis.
307

Index
All the Year Round, 20 Bodichon, Barbara, 249

Althusser, Louis, 98, 166, 231 Born, Daniel, 123
Anderson, Amanda, 3 Bourdieu, Pierre, 159
Anger, Suzy, 96 Bowen, John, 204
Anglicanism, 40–43 Brantlinger, Patrick, 98
Anne, Queen, 145 Bromwich, David, 274
Arac, Jonathan, ix Brontë, Charlotte, 13, 36, 154; Jane
Arnold, Matthew, 40, 50, 104 Eyre, 22; Villette, 22, 52n14
Arnold, Thomas, 40 Brontë, Emily, 36; Wuthering Heights,
Austen, Jane, 22, 265 16
Austin, Henry (CD’s brother-in-law), Browne, Hablot Knight (Phiz), 268
85 Bulwer-Lytton, Edward, 223
Bunyan, John, 193
Bagehot, Walter, 103, 159, 161, Burdett Coutts, Angela, Baroness,
172–74 49–50, 221, 255
Balfour, William, 14 Buss, R. W., 180
Bank Charter Act (1844), 171 Butler, Joseph, Bishop, 19, 55
Bank of England, 169–72, 174, 176, Butwin, Joseph, 101
180, 182–85
banking, 169–87 Calvinism, 15, 18, 23, 25, 43, 247
bankruptcy, 28, 221 Capra, Frank, 125
Barthes, Roland, 195 Carey, Peter, 13
Benjamin, Walter, 86 Carlyle, Jane Welsh, 127
Bennett, Arnold, 158, 163 Carlyle, Thomas: attacks on utilitarian-
Bentham, Jeremy, 38–40, 47, 54, 118, ism, 39–40; and Christmas, 127–
122 28; definition of “uttering,” 174;
Bentley, Richard, 213 history, 98; on the “earnestness” of
Bentley’s Miscellany, 213 heroes, 179; secularism, 14; view
Blake, William, 270 on society, 65, 100
309

Index
Chadwick, Edwin, 39, 148 96–100, 101, 283–84; influences,

Chesterton, G. K., 114–15, 123, 204 35, 54, 73n19; journalism, 85, 94,
Cholera Epidemic, 85, 135, 138, 101, 108n5; and London, 131–32,
148–49 138, 141–44; and memory, 76–88,
Chow, Rey, 153 132, 267, 269, 280–83; moral intu-
Christmas: in Dickens, 37, 88; and Eng- ition, belief in, 47–49; moral views,
lishness, 5, 113–29, 264; presents, 3–5, 107, 238; Protestant ethic,
84; secularization of, 45–46 31; reception of Christmas books,
Clifford, W. K., 14, 16 115–17; religious beliefs, 37–38,
Cohen, William, 235 42–47, 51n9, 51n13; as religious
Cohn, Dorrit, 95–96 novelist, 23–26; and secularism,
Collins, Philip, 9, 44, 270 13, 16; sexuality and, 8, 231–37,
Collins, Wilkie, 222, 224 239–43, 281; and sympathy, 54–55,
commodity criticism, 159–67 63, 71; “thingfullness” of his nov-
Communist Manifesto, 76 els, 153, 160
Connor, Steven, 2 Works:
Conrad, Joseph, 267 Barnaby Rudge, 96, 98–99, 238
Cooper, Anthony Ashley. See Shaftes- Battle of Life, 116
bury, Anthony, Earl of Bleak House: charity, 53; Chris-
Corelli, Maria, 13 tian morality in, 43, 46; city
Cowper, William, 202 and country in, 138, 143;
Craik, Dinah Mulock, 13, 16 critical reception, 9, 264, 276;
credit (financial), 1, 6, 171–76, 178 Dickens’s defense of realism
Crowe, Catherine, 85 in, 16; and Dickens’s fam-
Cruikshank, George, 137, 268, 282 ily, 7, 220–27; compared to
Crystal Palace. See Great Exhibition of Engels, 102; happy ending in,
1851 29; nature and art in, 136–37;
and Old Curiosity Shop, 197,
Daily News, 85 203–4; paper and rags in, 144,
Dallas, Eneas Sweetland (E.S.), 90n17 147, 149; and societal disease,
Damrosch, Leopold, 17 250–51; sympathy, 55, 60–71;
Darwin, Charles, 14, 18, 211; Descent systems of interpretation, 100
of Man, 211; Origin of Species, 18, Christmas Carol, 5, 77, 84, 86,
20, 222 114–29
Debord, Guy, 152, 154 David Copperfield: and charges
Delany, Paul, 158 of sentimentalism, 4; and
Diamond, Cora, 54, 71 Dickens’s religious beliefs, 44;
Dickens, Alfred D’Orsay Tennyson female rage in, 251–52; and
(son), 221 Haunted Man, 5, 76–78, 85;
Dickens, Catherine (wife), 221, 223, and money, 169–70, 184–85;
225–26, 229n25 sanction given Dickens by, 181;
Dickens, Charles: banknote represent- sexuality in, 232, 239, 241–43;
ing, 169–71, 180, 184, 186; char- and the value of work, 178–79;
ity and, 53, 60, 64–71, 86, 115; Woolf on, 267–68
Christian moral framework, 16–17, Dombey and Son: history and the
25–27, 277; critical reception, 239, past in, 98–99; as later Dick-
264–84; and the environment, ens, 239; profitable for Dick-
6, 139–41; history in his works, ens, 177–78; and psychological
310

Index
criticism, 284; railways, 6, Our Mutual Friend: critical recep-

134–36; theatrical moments tion, 9, 266, 270, 276, 283;
in, 247 compared to Engels, 102;
Great Expectations, 27, 86, 143, and the environment, 6,
253, 282 143; ethical imperative in, 4,
Hard Times: and commodities, 36–37; female rage in, 253–54;
165; critical reception, 39–40, internality in, 239; paper and
267; fact and fiction in, 101– rags in, 144–46, 149–50; as
8; history and the past in, 96; rare example of admirable
as a moral fable, 5, 94 clergy, 43; and the separation
Haunted Man, 5, 75–88, 114, 116 of spheres, 26–27; tension
Little Dorrit: Christian morality between religion and secular-
in, 4, 13; city and country in, ism, 16
141–42; critical reception, Pickwick Papers: characters mod-
9, 264, 276–77, 283–84; els for Dick Swiveler, 197;
criticism of Victorian financial Christmas in, 45, 116; city
institutions, 170, 175; fact and country in, 136; critical
and fiction in, 102; female reception, 269, 270, 278–80;
rage in, 8, 245–52, 255–61; as early Dickens, 169; and the
history and the past in, 96–98; environment, 131; inventories
nature cult in, 137; sales of, in, 7, 191–92, 194; parent-
185; tension between religion child relationship in, 209;
and secularism, 16, 23–31, sanction given Dickens by,
121 181; satire of Evangelical Dis-
Martin Chuzzlewit, 174, 176 senters, 43; sexuality and, 8,
Mystery of Edwin Drood, 274–75 232–43; tension between reli-
Nicholas Nickleby: anti-Catholi- gion and secularism, 16, 45
cism in, 43; and concerns with Sketches by Boz, 4, 6, 35, 132–34,
authenticity, 170–71; inter- 138–39
nality in, 238, 239; parent- Tale of Two Cities, 43, 46, 96,
child relationship in, 7, 213, 98–100, 239
214–20, 223 Uncommercial Traveller, 42, 186
Old Curiosity Shop: and commod- Dickens, Charles Cuillford Boz, Jr.
ities, 164; domestic morality, (son), 221–22
49; non-narrative style of, 7, Dickens, Dora Annie (daughter), 221,
189–205; religious hypocrisy 229n25
in, 43; sales in America, 177; Dickens, Edward Bulwer Lytton (Plorn)
suspicion in, 238 (son), 43, 49, 212, 221, 229n30,
Oliver Twist: authorial naïveté in, 229n33
29; city and country in, 131, Dickens, Elizabeth Barrow (mother),
136; critical reception, 268, 78, 282
279–83; and Dickens’s belief Dickens, Fanny (later Burnett) (sister),
in innate moral intuitions, 75, 89n2
48; parent-child relationship Dickens, Francis Jeffrey (Frank) (son),
in, 209–10, 213; and realism, 221, 229n30
185; tension between religion Dickens, Henry Fielding (son), 229n30
and secularism, 16; villains as Dickens, John (father), 37, 77, 78,
predecessors of Quilp, 196 228n21, 249, 274, 278–81
311

Index
Dickens, Kate Mcready (daughter), Foucault, Michel, 3, 9, 40, 231, 241

224, 227n9 Fraser’s, 128, 137, 140
Dickens, Mary (Mamie) (daughter), Freud, Sigmund: admiration for Dick-
213, 224 ens, 91n20; Dickens’s similarity to,
Dickens, Walter Savage Landor (son), 80–82; Freudian readings of Dick-
221 ens, 8, 77, 241, 265, 271–72, 274,
Dostoevsky, Fyodor, 1, 90n19, 273 283–84; parent-child relationships,
Duchamp, Marcel, 204 209, 270; primal scenes, 281; rep-
etition, 87; sexuality and meaning,
Eagleton, Terry, 94 235, 243; unconscious, 15; wish-
Easson, Angus, 96 fulfillment, Trilling’s use, 276–78.
Egg, Augustus, 224 See also psychoanalysis, and Dick-
Eliot, George: as critic, 94; critical ens criticism
agreement on, 93; Daniel Deronda, Frost, Robert, 202
30, 93; Middlemarch, 15, 22; real-
ism, 36, 266; representation of Gallagher, Catherine, 161
clergy, 20; Romola, 93; and secu- Galsworthy, John, 158, 163
larism, 14–16, 22 Gardiner, Judith Kegan, 218
Elmes, James, 133 Gaskell, Elizabeth, 224
Engels, Friedrich, 76, 102–3 George IV, King (previously Prince
environmentalism, 6, 131–50 Regent), 133
Erskine, John, 264 gift-giving, 78–79, 84–86, 91n27
ethics: in Bleak House, 62–63, 67–71; Girard, René, 82
and Christmas, 125–26; in David Gissing, George, 94, 271
Copperfield, 77–78; in Hard Times, Golby, J. M., 116
107–8; in Haunted Man, 85–86; Gooch, Daniel, 104
and history, 100; intuitionism and Great Depression, 272
moral sense, 38, 41, 47–49, 55, 62; Great Exhibition of 1851, 152, 154–56,
in Little Dorrit, 31; and narrative, 166
3, 4, 8; in Nicholas Nickleby, 218; guilt, 122–26, 130n17, 275, 277–78
and secularism, 14; sentimentalism,
40, 53–55, 72n7; Hume’s theories, Hadley, Elaine, 232
57–60, 63–64; Smith’s theories, Hazlitt, William, 35
73n10, 77, 211; and sympathy, Herschel, John, 18
35–50, 77–78, 211; utilitarianism, history, and narrative, 94–101, 198–99,
37, 40–42, 47, 54–55, 103, 121; 256–57
Victorian, 35–50 Hobbes, Thomas, 55
Hoffmann, E. T. A., 81
Fagin, Bob, 280 Hogarth, Georgina (CD’s sister-in-law),
Felski, Rita, 162, 164 224, 226
Fielding, Henry, 17, 21, 237 Hogarth, Mary (CD’s sister-in-law),
Follett, William, 234 192, 226
Forster, John: anecdote about Dickens’s Hollingshead, John, 149
father, 280; Dickens’s capacity for Hood, Thomas, 126
sympathy, 211; Dickens’s religion, Household Words: Bank of England
42–44; Dombey and Son, 177; articles, 184; Christmas stories,
Guild of Literature and Art, 223, 117, 127; Dickens taking credit for,
224; Haunted Man, 77 181; publication of Hard Times,
312

Index
93, 96, 101; representation of city Lyell, Charles, 17–18

and country, 138, 146; review of
Darwin, 20 Macaulay, Thomas B., 98
Hume, David, 55–60, 63–65, 211, 218 Maclise, Daniel, 184
Hunt, Leigh, 35 Mallock, W. H., 14
Hutcheson, Francis, 55 Malthus, Thomas, 118, 121, 221
Hutton, James, 33n6 Marcus, Sharon, 168n34
Huxley, Aldous, 266 Marcus, Steven: on Bleak House, 62;
Huxley, T. H., 14 and Dickens criticism, 9, 269,
270–73; Dickens’s representation of
Inclosure Acts, 140 reality, 101–2; Freudian readings of
intuitionism. See ethics Dickens, 277–84; on Old Curios-
Islam, 50, 113 ity Shop, 203; past and memory in
It’s a Wonderful Life, 125 Dickens, 98–99; as teacher, ix
Martineau, Harriet, 145
Jaffe, Audrey, 198–99 Marx, Karl: and commodity fetishism,
James, Henry, 8, 193, 265–67, 268 153; ghosts in, 76; and history,
James, William, 16 98; influence on Dickens criticism,
Jameson, Fredric, 98, 166 265, 272; and modernity, 155; Van
Jerrold, Douglas, 224 Ghent’s quasi-Marxist critique of
Jews, 37, 41, 128, 271 Dickens, 162–63
John, Judith, 232 Marxism: criticism of Victorian culture,
John, Juliet, 238 157, 159, 160; and literary criti-
Jordan, John O., x, 1 cism, 3, 8, 166, 272
Joseph, Gerhard, ix Mauss, Marcel, 84. See also gift-giving
Joyce, James, 158, 274 Mayhew, Henry, 147–48
McCulloch, J. R., 175
Kafka, Franz, 273, 274 McKeon, Michael, 21
Kant, Immanuel, 54, 73n21 Melbourne, Lord, 233–34
Kemble, John Philip, 248 Michie, Helena, 216
Kincaid, James R., 195 Mill, James, 29
Kingsley, Charles, 40 Mill, John Stuart, 14, 39, 40, 47, 50, 96,
Knight, Charles, 148 122, 171, 174; belief in progress,
Kristeva, Julia, 78 50; and Bentham, 39, 122; on polit-
ical economy, 171, 174; secularism
Lamb, Charles, 35 of, 14; utilitarianism, 39, 40, 47; on
Lamb, William. See Melbourne, Lord Victorians as historical beings, 96
Leavis, F. R., 8, 93–94, 265–67, 269, Miller, Andrew H., 155
271, 282 Miller, D. A., 239
Lefebvre, Henri, 154 Miller, Hugh, 19–20, 33n12
Lefevre, George Shaw, 140–41 Miller, J. Hillis, 9, 100, 270, 278,
Lemon, Mark, 90n14, 146, 224 286n32, 287n40
Le Sage, Alain-René, 199 Milton, John, 202
Lewes, George Henry, 8, 160–61, 265– Mink, Louis O., 95
66, 269, 275, 284 moral philosophy. See ethics
liberalism, 3–4, 50, 114–15, 122–23, moral sense. See ethics
270 Moretti, Franco, 22, 24
Luddism, 136 Morning Chronicle, 233
313

Index
Mumford, Lewis, 101 superior to allegory, 77

Reform Bill (1832), 39
narratology, 95–96 Reynolds, Mary, 80
Nash, John, 133, 135 Ricardo, David, 39
natural theology, 18–19, 40. See also Richards, Thomas, 154, 155
Paley, William Richardson, Samuel, 17, 21; Pamela,
Nazism, 270, 271, 273 21, 26
New Poor Law (1834), 39, 125 Rilke, Rainer Maria, 195
Newman, John Henry, Cardinal, 13, Romanticism (English), 15, 77, 94, 137,
40–42 238, 248
Norton, Caroline, 250–52 Ruskin, John, 40, 93–94, 159
Norton, George, 233–34
Nunokawa, Jeff, 153, 165 Sadlier, John, 174
Sadrin, Anny, 2
Oliphant, Margaret, 13 Santayana, George, 266, 269, 273
Orwell, George, 94, 162–63, 264, Schad, John, 2
270–71 Schaffer, Talia, 158
Oxford Movement, 40. See also New- Scheler, Max, 56, 63. See also sympathy
man, John Henry, Cardinal Schneewind, J. B., 51n10
Schor, Hilary M., 202
Paley, William, 41, 47 Scott, Walter, 22, 23, 29, 97, 24
paper, 6–7, 145–50; currency, 169–72, secularism: and Christmas, 45; in
176, 180, 182, 185 Dickens, 1, 4; and ethical thought,
Pascal, Blaise, 16 47–48; in Little Dorrit, 23–25, 28,
Pater, Walter, 36 31; as modern moral imperative,
Phiz. See Browne, Hablot Knight (Phiz) 32n1; and the novel, 13, 20, 22;
Pilgrim’s Progress. See Bunyan, John Victorian, 14–17
Pimlott, J. A. R., 123 Sedgwick, Eve Kosofsky, 232
Plato, 40 sentimentalism. See ethics
Poor Laws. See New Poor Law (1834) Shaftesbury, Anthony, Earl of, 55–57,
Poovey, Mary, 26, 29, 100–101, 249 68
Protestant ethic, 15, 21–23, 27, 31, Shakespeare, William, 1, 88, 183
170. See also ethics Shaw, George Bernard, 114, 245
psychoanalysis, and Dickens criticism, Shklar, Judith, 122–23
3, 8, 271–72, 276, 277–83 Siddons, Sarah, 248
Purdue, A. W., 116 Sigourney, Lydia, 221
Puritanism, 15, 17, 32–33n5, 43 Simmel, George, 155, 171
Slater, Michael, 247
Qualls, Barry, ix, 15 Small, Helen, 250
Smith, Adam, 56, 73n10, 77, 211
railway travel, 6, 99, 134–36, 139, 144 Smollett, Tobias, 237
realism: comic realism, 26; commodi- Spencer, Herbert, 14
ties in, 165–66, 170; and the Great Stanfield, Clarkson, 87–88
Exhibition, 154; and happy end- Stephen, Leslie, 14
ings, 31; opposed to Dickens’s Stevenson, Robert Louis, 275
didacticism, 36; psychology, 237– sympathy: in Bleak House, 64–71 (see
38, 275; and social context, 29; as also ethics); in Christmas Carol,
substitute for real world, 185; as 123–24; in Christmas Carol,
314

Index
214–15; Dickens’s with his own utilitarianism. See ethics

creations, 226; eighteenth-century
theories, 54–60; in Haunted Man, Valente, Joseph, 3
77; as innate moral faculty, 47–48; Van Ghent, Dorothy, 160–64
and novelistic representation, 20, Victoria, Queen, 221, 249
38; opposed to empathy, 218–19
Warren’s Blacking factory, 37, 76, 78,
Taine, Hippolyte A., 159, 161 214, 280–82
Taylor, Charles, 32n1 Watt, Ian, 21
Tennyson, Alfred: In Memoriam, 194; Watts-Dunton, Theodore, 115
“Ulysses,” 197 Weber, Max, 19, 21–22, 27, 155
Thackeray, William Makepeace: atten- Wells, Herbert George (H. G.), 158, 163
tiveness to financial detail, 36; on Welsh, Alexander, 241
Carlyle, 128; as father, 212; on Whewell, William, 18–19
Maclise’s portrait of Dickens, 184; White, Hayden, 95
and novelistic conventions, 15; and Wilde, Oscar, 36, 275
secularism, 13, 22; Vanity Fair, 25, Williams, Raymond, 94, 115, 117
29; on the weak hero, 23 Wills, W. H., 138, 182–83, 222
Thucydides, 95 Wilson, Edmund: and Dickens criticism,
Trilling, Lionel: and Dickens criticism, 9, 264, 283; on Dickens’s “childish-
9, 264–66; on Dickens’s “childishness,” 8, 269; influence on Marcus,
ness,” 8, 269; Freudian readings of 278; psychological readings of
Dickens, 271–72, 276–77; influ- Dickens, 271–72, 273–75, 281;
ence on Steven Marcus, 278, 283; similarity to Trilling, 277
on Little Dorrit, 276–77; Marxist Wilson, Thomas Maryon, 140
readings of Dickens, 272–73 Woolf, Leonard, 267
Tyndall, John, 14 Woolf, Virginia: as critic of Dickens, 8,
265; as critic of Victorian material-
Unitarianism, 37, 41, 42, 44 ism, 158–59, 163; on Dickens’s
United States of America: Dickens’s crit- childishness, 267–68, 269; on the
ical reception in, 269–73; Dickens’s failure of Dickens’s sympathies, 266
sales in, 177; display at Great Exhi-
bition, 156; paper technology, 146; Zangwill, Israel, 128
religious right in, 114
315

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Library of Congress Cataloging-in-Publication Data

This book is available in the following editions:

Cover design by Amelia Saul

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Part One: Ethics and Narrative

1 Dickens, Secularism, and Agency

2 Dickens and the Goods

3 The Poverty of Charity: Dickensian Sympathy

4 Uncanny Gifts, Strange Contagion: Allegory in The Haunted Man

5 Storied Realities: Language, Narrative, and Historical Understanding

Part Two: Material Culture

6 So, This Is Christmas

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8 Commodity Criticism and Victorian Thing Culture:

10 Enumeration and Exhaustion: Taking Inventory in

Part Three: Contextual Reading

12 Reading with Buzfuz: Dickens, Sexuality, Interrogation

13 Little Dorrit’s Theater of Rage

14 The Making of Dickens Criticism

Gillooly_final.indb 8 10/23/2008 2:02:54 PM

This collection traces its beginnings to a gathering of scholars at the annual

Gillooly_final.indb 9 10/23/2008 2:02:55 PM

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No other author in the English-speaking world occupies quite the place in

Gillooly_final.indb 1 10/23/2008 2:02:55 PM

It is not surprising, then, that Dickens—sneered at, condescended to, or

Gillooly_final.indb 2 10/23/2008 2:02:55 PM

and sexuality to environmentalism and Englishness: such areas of inquiry

Gillooly_final.indb 3 10/23/2008 2:02:55 PM

Gillooly_final.indb 4 10/23/2008 2:02:55 PM

Gillooly_final.indb 5 10/23/2008 2:02:56 PM

Gillooly_final.indb 6 10/23/2008 2:02:56 PM

Gillooly_final.indb 7 10/23/2008 2:02:56 PM

has something to hide: it postulates the existence of a fundamentally private

Gillooly_final.indb 8 10/23/2008 2:02:56 PM

fully in Little Dorrit) spoke powerfully to a population raw with memories of

1. Jordan, Introduction, Cambridge Companion to Dickens, xix.

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Ackroyd, Peter. Dickens. New York: HarperCollins, 1992.

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Memorials 1789–1914: Literary and Cultural Perspectives. London: Routledge,

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Robert Patten. London: Cambridge University Press, 1995.

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Gillooly_final.indb 293 10/23/2008 2:03:43 PM

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Hansard’s Parliamentary Debates.

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Lester, V. Markham. Victorian Insolvency: Bankruptcy, Imprisonment for Debt, and

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Process of Capitalist Production as a Whole, ed. Friedrich Engels. Moscow: Progress

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