Victorian Novel Quotes

She liked Victorian novels. They were the only kind of novel you could read while eating an apple.

I think that novels that leave out technology misrepresent life as badly as Victorians misrepresented life by leaving out sex.

Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.

If only words hadn't eluded me today, if only I yelled back at him: I do get it! I get that as long as you live no one will ever love you as much as I do - I have a heart so I can give it to you alone! That's exactly the way I feel - but unfortunately, people don't talk like that outside of Victorian novels.

Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world. Then too there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men.

The roof was a gymnasium for the winds

If my sister were a character in a Victorian drama, she would be the snobbish rich girl with a penchant for talking shit about everyone behind their fan.

Tess was carried along the wings of the hours

Soon she is lost in another dimension where images prevail and silence rules.  A large, black eye flutters open, staring at Kate from deep within the oceanic darkness of its mysterious pupil.  Falling into the center of this cyclopean abyss, she comes face to face with something completely unexpected.  A tiny infant, seemingly asleep, is suspended in a cocoon of rotating beads of white light above a luminous white stone altar.

When a printed book—whether a recently published scholarly history or a two-hundred-year-old Victorian novel—is transferred to an electronic device connected to the Internet, it turns into something very like a Web site. Its words become wrapped in all the distractions of the networked computer. Its links and other digital enhancements propel the reader hither and yon. It loses what the late John Updike called its “edges” and dissolves into the vast, rolling waters of the Net. The linearity of the printed book is shattered, along with the calm attentiveness it encourages in the reader.

I saw what I saw, I heard what I heard, and my soul sickened at it; and yet now when that sight has faded from my eyes, I ask myself if I believe it, and I cannot answer.

But there is no doubt that to attempt a novel of ideas is to give oneself a handicap: the parochialism of our culture is intense. For instance, decade after decade bright young men and women emerge from their universities able to say proudly: 'Of course I know nothing about German literature.' It is the mode. The Victorians knew everything about German literature, but were able with a clear conscience not to know much about the French.

Matt is a tortured soul,' Amanda insisted. 'He's Heathcliff and you're Cathy. He's Rochester and you're Jane Eyre. He's-' 'Darcy and I'm Elizabeth. I get it. And you're wrong.

On my website there's a quote from the writer Anthony Burgess: "The greatest gift is the passion for reading. It is cheap, it consoles, it distracts, it excites, it gives you knowledge of the world and experience of a wide kind." I've always found that inspiring because the written word, as an art form, is unlike any other: movies, TV, music, they're shared experiences, but books aren't like that. The relationship between a writer and a reader is utterly unique to those two individuals. The world that forms in your head as you read a book will be slightly different to that experienced by every other reader. Anywhere. Ever. Reading is very personal, a communication from one mind to another, something which can't be exactly copied, or replicated, or directly shared. If I read the work of, say, one of the great Victorian novelists, it's like a gift from the past, a momentary connection to another's thoughts. Their ideas are down on paper, to be picked up by me, over a century later. Writers can speak individually to readers across a year, or ten years, or a thousand. That's why I love books.

It stood the record of many sensations of pain, once severe, but now softened; and of some instances of relenting feeling, some breathings of friendship and reconciliation, which could never be looked for again, and which could never cease to be dear. She left it all behind her, all but the recollection that such things had been.

It appears that ordinary men take wives because possession is not possible without marriage, and that ordinary women accept husbands because marriage is not possible without possession; with totally differing aims the method is the same on both sides. But the understood incentive on the woman's part was wanting here. Besides, Bathsheba's position as absolute mistress of a farm and house was a novel one, and the novelty had not yet begun to wear off.

Built-in shelves line my bedroom, adjacent to my Japanese platform bed, purchased for its capacious rim, the better to hold those books that must be immediately accessible. Yet still they pile on my nightstand, and the grid of shelves continues in floor-to-ceiling formation across the wall, stampeding over the doorway in disorderly fashion, political memoirs mixed in with literary essays, Victorian novels fighting for space with narrative adventure, the Penguin classics never standing together in a gracious row no matter how hard I try to impose order. The books compete for attention, assembling on the shelf above the sofa on the other side of the room, where they descend by the window, staring back at me. As I lie in bed with another book, they lie in wait.

A lot of women but they are all moving. It takes me a while to see that they are all getting something to give to the men, food, a stool, water, matches for their weed, more food, juice from big Igloos. Livication and liberation my ass, if I wanted to live in a Victorian novel I at least want men who know how to get a decent haircut.

... Likewise, Oscar Wilde asked an English journalist to look over 'The Picture of Dorian Gray' before publication: "Will you also look after my 'wills' and 'shalls' in proof. I am Celtic in my use of these words, not English." Wilde's novel upset virtually every code of late Victorian respectability, but he had to get his modal auxiliaries just right.

I’m an idiot for trying to avoid these feelings because they have caused me pain in the past.

It is inner, not outer, achievement that wins peace.

It takes a village to raise a child, they say, and it takes a community to raise a genius, no matter how singular the individual.

Father has taught me that when something is lost, whether dear or not, giving up the search is sometimes best and often enough the lost article finds its owner.

Thinking back on the outing to the theatre, she added, ‘I want a man, not a preening peacock!

Of these death-white realms I formed an idea of my own: shadowy, like all the half-comprehended notions that float dim through children’s brains, but strangely impressive.

In racy Victorian novels, beware of young widows.

Victorian novel, perhaps something by Wilkie Collins.

I remembered a worrisome course in the Victorian novel where woman after woman died, palely and nobly, in torrents of blood, after a difficult childbirth.

Charlotte already believed that Victorian marriage crippled women’s self-expression and prevented human progress. After the birth of her daughter, Katharine, her sense of being trapped in domestic drudgery, with no intellectual or creative life, resulted in deep depression.

In serious Victorian fiction, as in Shakespearian tragedy, melodrama normally functions as metaphor. The author finds a vivid equivalent for a reality too elaborate or too extended to be briefly depicted.

Except they’re so banal and half-arsed it hardly seems worth it.” I sighed. “I swear to God, I found one that opened ‘Bleak House, the Victorian novel by the Victorian novelist Charles Dickens’…Oh my God, I’ve wasted three years of my life.

With her eyes closed, Sylvie placed herself on the wide expanse of her brother-in-law’s uncertainty. It resembled one of the foggy, rambling moors she and her sisters had loved in Victorian novels. Sylvie felt at home on the rough terrain, filling her lungs with murky air. Since Charlie’s death, she’d felt like she was spilling out of her edges and messily trying to scoop herself up at the same time. Her sisters and mother were safe, with their aspirations and routines; Sylvie was her heartbreak and loss.

We are always sure that the heroine is fiery and passionate, which is quite an achievement when the plot has had to keep her passive, inactive and loveless for long stretches. Up to the point when Jane's love declares itself, the novel establishes the passion largely by negatives—a method very prophetic of that of D. H. Lawrence, who was in many ways influenced by Charlotte Brontë.

Did women actually faint, I wondered, or was that an invention of bad Victorian novels and Friday night picture shows? Or perhaps women simply contrived to collapse at convenient moments to delay the burden of hearing and seeing and feeling, just for a little while. I sympathized.

decided that the absence of women did matter. A lack of representation might mean that the first edition of the Oxford English Dictionary was biased in favour of the experiences and sensibilities of men. Older, white, Victorian-era men at that. This novel is my attempt to understand how the way we define language might define us. Throughout, I have tried to conjure images and express emotions that bring our understanding of words into question.

Because it is written by a nineteenth-century American, and because of its closeness to the twentieth century, The Portrait of a Lady foregoes Victorian affirmations. The price it pays, however (together with several twentieth-century novels) is that it eventually leaves the reader, along with its heroine, 'en Vair' amid its self-reflections.

What The Mysteries of Udolpho suggests is how a novel, by presenting phenomena before it present resolutions, can create an on-going, perhaps spurious, but nevertheless compelling dynamic between details which can undermine the ability of form to impose its particular tyranny on the reader's experience: there is a life in the novel which comes from within.

Tess Durbeyfield, in quell'epoca della sua vita, era solo un recipiente di emozioni non ancora colorite dall'esperienza

Oh to be blissfully ignorant, he thought. But in truth there was nothing he hated more in this life. Ignorance was the root of every manmade evil he had ever encountered.

We who have seen the truth will reshape the world, and Ireland shall be our entrance to this world beyond words.

Weird that a house so new could feel haunted, and not in the romantic Victorian-novel way, just really gruesomely, shittily ruined.

a poetry express dreamer man of action, his every line thinking about. thinking about a woman.

Vi o que vi e ouvi o que ouvi, e minha alma adoeceu.

bereavement; and now—an elderly man—

Novel reading tends to inflame the passions, pollute the imagination, and corrupt the heart. It frequently becomes an inveterate habit, strong and fatal as that of a drunkard. In this state of intoxication, great waywardness of conduct is always sure to follow. Even when the habit is renounced, and genuine reformation takes place, the individual always suffers the cravings of former excitement.

Discussions of the effects of serial publication of Victorian novels on their authors and readers1 usually draw attention to the author's peculiar opportunities for cliff-hanging suspense, as, for instance, when Thackeray has Becky Sharp counter old Sir Pitt's marriage proposal at the end of Vanity Fair's fourth number with the revelation that she is already married, and the reader must wait a month before the husband's identity is revealed. Or it may be pointed out how the author can modify his story in response to his readers' complaints or recommendations, as when Trollope records in his Autobiography how he wrote Mrs Proudie out of the Barchester Chronicles after overhearing two clergymen in the Athenaeum complaining of his habit of reintroducing the same characters in his fiction.

Indeed, and crucially so, the serial form took the control of the novel away from the reader and left him in an imagined space that could not be thought of in terms of the physical space still to be read. At the end of each instalment the reader would contemplate a vacuum, an 'end' which looked forward to a continuing verbal space which he could not measure. He might speculate but he could not know.

Any knowledge of homosexuality I might have had would have gone back to Victorian times. All those novels. You probably skirted under my radar, because you weren't wearing hoop skirts and high button boots.

Félix J. Palma, author of the New York Times bestselling The Map of Time, inspired by H.G. Wells’s The Time Machine, concludes his time-travel Victorian trilogy with a mesmerizing new novel, The Map of Chaos

Few poets better convey the uneasy transition from Victorianism to Modernism than Thomas Hardy. His novels, written between 1870 and 1895, made him not only the recorder of his distinctive region of 'Wessex', but the explorer of the transition of lives and minds from the age of traditional values and religious certainties to the age of godlessness and modern tragedy, a transition sometimes described as 'the clash of the modern'.

When we discuss a novel it is only partially to hear another person's 'view', it is much more to find out what we ourselves think in order to possess the text more completely. Such a possession is then a composite one, it is the book itself and the articulated reaction to it. So vivid can be the latter that it is not uncommon to find that the pleasure survives the cause; some novels seem more enjoyable to talk about than to read.

Victorian novelists such as George Eliot could write about female vocation as at least a meaningful ambition, but in the claustrophobic world of Sense and Sensibility, marriage is the only eligible destiny. In this respect, the courtship plot that structures all six of Austen’s published novels, though sometimes held to imply her endorsement of a patriarchal status quo, is equally a means of exploring themes of female disempowerment.

In another minute or two, those men would have tossed your skirts in that alley right there... if you were wearing skirts! You should be thanking me for saving your sorry hide! By my calculations, that’s twice in one day.

The first unanalysed impression that most readers receive from Jane Eyre is that it has a very violent atmosphere. If this were simply the effect of the plot and the imagined events then sensation novels like Walpole's The Castle of Otranto or Mrs Radcliffe's The Mystery of Udolpho ought to produce it even more powerfully. But they do not. Nor do they even arouse particularly strong reader responses. Novelists like Charlotte Brontë or D. H. Lawrence, on the other hand, are able quite quickly to provoke marked reactions of sympathy or hostility from readers. The reason, apparently, is that the narrator's personality is communicating itself through the style with unusual directness.

Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation between intensity of involvement and contemplative detachment

I want morning and noon and nightfall with you. I want your tears, your smiles, your kisses...the smell of your hair, the taste of your skin, the touch of your breath on my face. I want to see you in the final hour of my life...to lie in your arms as I take my last breath.

Recognising such dimensions implicit to the reading experience can distract from the immediacy of our response; it can substitute literary archaeology for novelistic reality. That is one pole. But the other extreme is equally limiting. By failing to realise the issues involved in communicating with fictional modes that are different to our own, in effect we do not read in the fullest sense. Between intellectual pedantry and cultivated ignorance I would pose a third approach to reading—that of the informed imagination. After occupying this position true evaluation can begin.

I want you to know I have never loved anyone like I love you. More than Darcy loved Elizabeth or Heathcliff loved Cathy. I just don’t want to make you a widow.” “I never really understood why Brontë is considered to be a romance writer. We were required to read Wuthering Heights in high school and I always believed that her novel showcased the bleakest aspects of human nature. The story provided readers with a small yet unforgettable glimpse into the depths of human cruelty. Personally, I never considered the story romantic because the love shared between Cathy and Heathcliff was fatal, not just for themselves but for those around them. Their souls were incompatible, and they were a toxic pairing. Despite their love, passion, jealousy, and desire for connection, they were unable to recognize this fact.” “I was never a fan of Victorian romance novels.” “It was never one of my favorites. It’s often viewed as one of the great romance novels of all time, but I think it represents something darker: the fatal, selfish side of love, obsession, and abuse. To this day, I have not encountered a more accurate depiction of how love can become selfish.” “Why do you say that?” Xuan asked. “Because I think you have to love someone in the way that I love you to truly understand what love means... and to understand how wrong the story is. My soul and yours are the same in a way that Catherine and Heathcliff’s could never be. Widow or not, I will never stop loving you, Xuan. You have mesmerized me. My very soul has been entangled completely by you over these past three years. If Brontë or Austen could write the greatest love story of all time they’d write our story. And whether you marry me or not, how I feel about you will never change.

She was doing it again—letting pride and stubbornness pull her away from those she loved. She’d rather appear strong and reject vulnerability than have a close relationship with her family. But she wasn’t strong; she was weak, and every time she failed to show her weakness, she became weaker.

Length, I want to suggest, has a peculiar significance for the reader of a Victorian novel and especially so if we are concerned with an awareness of it as a book; a physical object held in the hand... The distinctive achievement of novels like Bleak House and Middlemarch is an expanding density and complexity towards the creation of a realised and felt fictional world. Their imaginative breadth demands both a spatial freedom and temporal capacity equal to the creative intention... The Victorian novel, then, assumes through its length the possibility of a completed and enclosed fictional world. The reading experience, through a linear and sequential development will be, quite obviously, distinct from, say Ulysses or Finnegans Wake. It is what Josipovici has called the 'swelling continuity' of Victorian narrative, a form which encourages a particular kind of reading response: Reading an intricately plotted nineteenth-century novel is very much like travelling by train. Once one has paid for one's ticket and found one's seat one can settle down in comfort and forget all everyday worries until one reaches one's destination, secure that one is in good hands

Whether he chooses a 'scholarly' or a 'popular' edition the modern reader is likely to have his judgement influenced in advance. Almost invariably he will be offered an assisted passage. Footnotes, Forewords, Afterwords serve notice that a given text is intellectually taxing—that he is likely to need help. Such apparatus is likely to be a positive disincentive to casual reading. But a cheaper edition may offer interference of another kind. Reminders, in words or pictures, of Julie Christie's Bathsheba Everdene or Michael York's Pip can perhaps create a beguiling sense of accessibility. But they may also pre-empt the imaginative responses of the reader.

And if heroic figures, in days that never were, seem to startle out from their surroundings in fashion unbecoming to a Forsyte of the Victorian era, we may be sure that tribal instinct was even then the prime force, and that ‘family’ and the sense of home and property counted as they do to this day, for all the recent efforts to ‘talk them out.

Nearly all human cultures plant gardens, and the garden itself has ancient religious connections. For a long time, I've been interested in pre-Christian European beliefs, and the pagan devotions to sacred groves of trees and sacred springs. My German translator gave me a fascinating book on the archaeology of Old Europe, and in it I discovered ancient artifacts that showed that the Old European cultures once revered snakes, just as we Pueblo Indian people still do. So I decided to take all these elements - orchids, gladiolus, ancient gardens, Victorian gardens, Native American gardens, Old European figures of Snake-bird Goddesses - and write a novel about two young sisters at the turn of the century.

Adeline, who is the girl that she once was, the bright Victorian girl shut behind dark paneled doors with her thirteen, fifteen, eighteen years of life and a Greek lexicon. She is the girl stopped in time who could not speak or feel at the side of her dead mother’s bed. She keeps the cold, clear information of those days, unclouded by revision or the lies of age.

When in 1863 Thomas Huxley coined the phrase 'Man's Place in Nature,' it was to name a short collection of his essays applying to man Darwin's theory of evolution. The Origin of Species had been published only four years before, and the thesis that man was literally a part of nature, rather than an earthy vessel charged with some sublimer stuff, was so novel and so offensive to current metaphysics that it needed the most vigorous defense. Half the civilized world was rudely shocked, the other half skeptically amused. Nearly a century has passed since the Origin shattered the complacency of the Victorian world and initiated what may be called the Darwinian revolution, an upheaval of man's ideas comparable to and probably exceeding in significance the revolution that issued from Copernicus's demonstration that the earth moves around the sun. The theory of evolution was but one of many factors contributing to the destruction of the ancient beliefs; it only toppled over what had already been weakened by centuries of decay, rendered suspect by the assaults of many intellectual disciplines; but it marked the beginning of the end of the era of faith.

Novels begin and end with, consist of, and indeed in one sense are nothing but voices. So reading is learning to listen sensitively, and to tune in accurately, to varying frequencies and a developing programme. From the opening words a narrative voice begins to create its own characteristic personality and sensibility, whether it belongs to an 'author' or a 'character'. At the same time a reader is being created, persuaded to become the particular kind of reader the book requires. A relationship develops, which becomes the essential basis of the experience. In the modulation of the fictive voice, finally, through the creation of 'author' and 'reader* and their relationship, there is a definition of the nature and status of the experience, which will always imply a particular idea of ordering the world. So much is perhaps familiar enough, and a useful rhetoric of Voice' has developed. Yet I notice in my students and myself, when its vocabulary is in play, a tendency to become rather too abstract or technical, and above all too spatial and static. Perhaps we need to remind ourselves what it can be like to listen to close friends, talking animatedly and seriously in everyday experience, in order to make sure that a vocabulary which often points only to broad strategies does not tempt us to underplay the extraordinary resourcefulness, variety and fluctuation of the novelist's voice.

If a writer has to find a rhythm if his novel is to come 'right', a rhythm which he may well discover in the rhythm of an individual sentence, then likewise a reader has to find a corresponding rhythm in his reading, which may equally well be discovered in responding to local effect. The intimacy of this relationship between writer and reader is well caught in a recent observation made by Graham Greene, 'Novels should always have, if not dull, then at least level patches. That's where the excessive use of film technique, cutting sharply from intensity to intensity is harmful. . . . The writer needs level passages for his subconscious to work up to the sharp scenes . . . and the reader needs those level patches too, so that he can share in the processes of creation—not by conscious analysis, but by absorption?' To reflect on the wide-ranging effects of rhythm in reading would seem to be one way of making a start on tracing that obscure route that leads from 'absorption' to 'conscious analysis'.

So we're going ghosting. Our stories lie everywhere, just like our bones, more wild rides than you ever dreamt of, all the daring you want, and all the beauty. Freedom wasn't dull and plodding; it flamed across that Victorian sky like a rocket, it sang in the wind, it made a whole generation into world-changers. And we're going to tell it, if we have to howl in through your keyholes and the cracks in your walls; if we have to haunt your children, and steal across your borders to whisper legends in the ears of strangers.

Nowhere is the sense of medium felt more strongly, even by the casual reader, than in a story about to end. For the novelist the problem is no longer how to tell his tale, but how to close it down; how to switch imaginative energies which have been used in sustaining the tale, into energies which will not just stop it, but will resolve it. The process of telling must be made to predicate its own conclusion. For the reader, in sight of an ending, the mode of attention shifts, the rhythm alters, and a pressure of significance begins to build up behind the closing chapters. The pace of the narrative begins to slow, the 'ever after' looms, past and present emerge in ever sharper juxtaposition. It is this heightened attention to the medium that characterises the ending and we are not surprised to find that for some novelists 'endings' seem to play false to the narrative which leads to them. 'Conclusions are the weak points of most authors', George Eliot wrote, 'but some of the fault must lie in the very nature of a conclusion which is at best a negation'.

The story is told in fragmentary narratives written by a Doctor and a Lawyer, culminating in Jekyll’s own full statement of the case. As well as creating a sense of mystery as each narrator witnesses a series of inexplicable events that is only finally explained by Jekyll’s own posthumous statement of his experiments, this structure is also symbolic of the fragmentary personality that Hyde’s existence reveals. For Jekyll is careful to note that Hyde is not simply his own ‘evil’ alter ego – rather he is just one facet of Jekyll’s personality, increased to the maximum. If Hyde is completely evil, it does not necessarily follow that Jekyll is entirely good – he always had the capacity for evil within him, but has repressed it in order to live a socially respectable life. It is this capacity for evil, lying beneath the socially acceptable face of society, that Hyde represents. This has made the novel open to all kinds of intriguing readings that suggest that the Jekyll/Hyde split is symbolic of the divergent experiences of ‘respectable’ Victorian society and their less respectable ‘others’ – a commentary on the hypocrisy of a society that condones certain kinds of behaviour so long as the mask of respectability is maintained. This subtext means that the novel fits easily into the Gothic genre, which is typically concerned with the chaotic forces lying beneath the pretence of civilisation.

t this point I would like to return to the question of the plot movement and the different narrative levels of the book. David Lodge raises a crucial issue when he asks 'how Charlotte Brontë created a literary structure in which the domestic and the mythical, the realistic world of social behaviour and the romantic world of passionate self-consciousness, could co-exist with only occasional lapses into incongruity.' As far as the plot and setting go, however, this states the question rather misleadingly, for in fact at Thornfield there begins a progressive plot movement from realism to fantasy. By 'realism' I do not mean the predominance of the every day and commonplace, or an authorial objectivity of treatment, but simply the use of material that the reader can accept as existing in the ordinary world as well, or of events of a kind that might happen in it without being viewed as extraordinary. That is, things that have a face-value currency of meaning prior to any concealed meaning they may hold or suggest. Thus while Gateshead and Lowood School fit neatly into, and contribute importantly to, the symbolic pattern of the book, they are perfectly believable places in their own right. Even the heavy-handed and obvious satire of Mr Brocklehurst and his family does not invalidate him as a credible conception. But with the beginning of the mystery of the Thornfield attic the plot starts moving away from this facevalue actuality.

The loudness of tone in Jane Eyre is undoubtedly effective in communicating tension and frustration, but the style does of course have its related limitations. It precludes the use of the small suggestive detail or the quiet but telling observation that Mrs Gaskell and George Eliot are so good at. In such a fortissimo performance as this, the pianissimo gets drowned out, or noted only as an incongruity (which helps to account for the book's moments of unintended comic bathos). Again, it makes the whole question of modulation of tone a difficult one,6 and it is also hard to manage irony elegantly, as the Brocklehurst and Ingram portraits show. There is unconscious ambiguity but little deliberate irony in Jane Eyre. Hence the remarkable unity of critical interpretation of the book—the reader knows all too well what he is meant to think about the heroine and the subsidiary characters. The novel does not merely request our judicious sympathy for the heroine, it demands that we see with her eyes, think in her terms, and hate her enemies, not just intermittently (as in David Copperfield) but in toto. It was, incidentally, because James Joyce recognised the similar tendency of Stephen Hero that he reshaped his autobiographical material as A Portrait of the Artist as a Young Man, retaining the 'first-person effect' but building in stylistic and structural irony that would guard against the appearance of wholesale authorial endorsement of Stephen.

8. Quoted in Clive Leatherdale, Dracula: The Novel and the Legend (Wellingborough, Northants: Aquarian Press, 1985), p. 80. 9. H. G. Wells, The War of the Worlds (Leipzig: Tauchnitz, 1898), Book II, Ch. II, p. 202. 10. Ibid., pp. 201, 200. 11. E. J. Hobsbawm, Industry and Empire (Harmondsworth: Penguin, 1969), p. 192. 12. On this important subject, see Daniel Pick’s Faces of Degeneration: A European Disorder c. 1848 – c. 1918 (Cambridge: Cambridge University Press, 1989) and his ‘ “Terrors of the night”: Dracula and “Degeneration” in the Late Nineteenth Century’, Critical Quarterly (Winter 1988). 13. For an account of and extracts from books such as these, see The Victorian Imagination: A Sampler, ed. Richard Manton (New York: Grove

Reading Mrs Gaskell's Life of Charlotte Brontë after Jane Eyre is a curious experience. The subject of the biography is recognisably the same person who wrote the novel, but the effect of the two books is utterly different. The biography is indeed depressing and painful reading. It captures better, I believe, than any any subsequent biography the introverted and puritan pessimist side of Charlotte Brontë, and conveys the real dreariness of the world of privation, critical discouragement and limited opportunity that so often made her complain in her letters that she felt marked out for suffering. Jane Eyre, on the other hand, is exhilarating reading, partly because the reader, far from simply pitying the heroine, is struck by her resilience, and partly because the novel achieves such an imaginative transmutation of the drab. Unlike that of Jane Austen's Fanny Price or Dickens's Arthur Clennam or John Harmon, Jane Eyre's response to suffering is never less than energetic. The reader is torn between exasperation at the way she mistakes her resentments and prejudices for fair moral judgements, and admiration at the way she fights back. Matthew Arnold, seeking 'sweetness and light' was repelled by the 'hunger, rebellion and rage' that he identified as the keynotes of the novel. One can see why, and yet feel that these have a more positive effect than his phrase allows. The heroine is trying to hold on to her sense of self in a world that gives it little encouragement, and the novel does put up a persuasive case for her arrogance and pugnacity as the healthier alternatives to patience and resignation. That the book has created a world in which the golden mean seems such a feeble solution is both its eccentricity and its strength.

Now, what did my brother do to earn your ire this time?-insist that you are better off with a boring young man who will love you for your dowry? Hang your puppy like that dastardly Heathcliff?” The last was meant to make her laugh, she knew, and laugh she did. And when she was done, she was in a much better humor. “You have read Wuthering Heights?” He nodded. “I have. Don’t look at me like that! You do not believe me?” “I believe you, but I must confess my surprise. You do not seem the kind of man who would read novels.” A sly smile curved his thin lips. “My dear girl. Who reads novels?” “Mostly women, I would suspect,” she replied, setting her empty champagne flute on the tray of a footman. Yet another passed with a fresh tray of full glasses and she took one of those. “Exactly. If one wants to converse with a woman, one should have a variety of subjects at hand.” “But you only want to talk to them so you can seduce them.” “You shock and wound me.” Rose grinned. “Impossible.

THE THING THAT ENTRANCED ME about Chicago in the Gilded Age was the city’s willingness to take on the impossible in the name of civic honor, a concept so removed from the modern psyche that two wise readers of early drafts of this book wondered why Chicago was so avid to win the world’s fair in the first place. The juxtaposition of pride and unfathomed evil struck me as offering powerful insights into the nature of men and their ambitions. The more I read about the fair, the more entranced I became. That George Ferris would attempt to build something so big and novel—and that he would succeed on his first try—seems, in this day of liability lawsuits, almost beyond comprehension. A rich seam of information exists about the fair and about Daniel Burnham in the beautifully run archives of the Chicago Historical Society and the Ryerson and Burnham libraries of the Art Institute of Chicago. I acquired a nice base of information from the University of Washington’s Suzallo Library, one of the finest and most efficient libraries I have encountered. I also visited the Library of Congress in Washington, where I spent a good many happy hours immersed in the papers of Frederick Law Olmsted, though my happiness was at times strained by trying to decipher Olmsted’s execrable handwriting. I read—and mined—dozens of books about Burnham, Chicago, the exposition, and the late Victorian era. Several proved consistently valuable: Thomas Hines’s Burnham of Chicago (1974); Laura Wood Roper’s FLO: A Biography of Frederick Law Olmsted (1973); and Witold Rybczynski’s A Clearing in the Distance (1999). One book in particular, City of the Century by Donald L. Miller (1996), became an invaluable companion in my journey through old Chicago. I found four guidebooks to be especially useful: Alice Sinkevitch’s AIA Guide to Chicago (1993); Matt Hucke and Ursula Bielski’s Graveyards of Chicago (1999); John Flinn’s Official Guide to the World’s Columbian Exposition (1893); and Rand, McNally & Co.’ s Handbook to the World’s Columbian Exposition (1893). Hucke and Bielski’s guide led me to pay a visit to Graceland Cemetery, an utterly charming haven where, paradoxically, history comes alive.

Our patients predict the culture by living out consciously what the masses of people are able to keep unconscious for the time being. The neurotic is cast by destiny into a Cassandra role. In vain does Cassandra, sitting on the steps of the palace at Mycenae when Agamemnon brings her back from Troy, cry, “Oh for the nightingale’s pure song and a fate like hers!” She knows, in her ill-starred life, that “the pain flooding the song of sorrow is [hers] alone,” and that she must predict the doom she sees will occur there. The Mycenaeans speak of her as mad, but they also believe she does speak the truth, and that she has a special power to anticipate events. Today, the person with psychological problems bears the burdens of the conflicts of the times in his blood, and is fated to predict in his actions and struggles the issues which will later erupt on all sides in the society. The first and clearest demonstration of this thesis is seen in the sexual problems which Freud found in his Victorian patients in the two decades before World War I. These sexual topics‒even down to the words‒were entirely denied and repressed by the accepted society at the time. But the problems burst violently forth into endemic form two decades later after World War II. In the 1920's, everybody was preoccupied with sex and its functions. Not by the furthest stretch of the imagination can anyone argue that Freud "caused" this emergence. He rather reflected and interpreted, through the data revealed by his patients, the underlying conflicts of the society, which the “normal” members could and did succeed in repressing for the time being. Neurotic problems are the language of the unconscious emerging into social awareness. A second, more minor example is seen in the great amount of hostility which was found in patients in the 1930's. This was written about by Horney, among others, and it emerged more broadly and openly as a conscious phenomenon in our society a decade later. A third major example may be seen in the problem of anxiety. In the late 1930's and early 1940's, some therapists, including myself, were impressed by the fact that in many of our patients anxiety was appearing not merely as a symptom of repression or pathology, but as a generalized character state. My research on anxiety, and that of Hobart Mowrer and others, began in the early 1940's. In those days very little concern had been shown in this country for anxiety other than as a symptom of pathology. I recall arguing in the late 1940's, in my doctoral orals, for the concept of normal anxiety, and my professors heard me with respectful silence but with considerable frowning. Predictive as the artists are, the poet W. H. Auden published his Age of Anxiety in 1947, and just after that Bernstein wrote his symphony on that theme. Camus was then writing (1947) about this “century of fear,” and Kafka already had created powerful vignettes of the coming age of anxiety in his novels, most of them as yet untranslated. The formulations of the scientific establishment, as is normal, lagged behind what our patients were trying to tell us. Thus, at the annual convention of the American Psychopathological Association in 1949 on the theme “Anxiety,” the concept of normal anxiety, presented in a paper by me, was still denied by most of the psychiatrists and psychologists present. But in the 1950's a radical change became evident; everyone was talking about anxiety and there were conferences on the problem on every hand. Now the concept of "normal" anxiety gradually became accepted in the psychiatric literature. Everybody, normal as well as neurotic, seemed aware that he was living in the “age of anxiety.” What had been presented by the artists and had appeared in our patients in the late 30's and 40's was now endemic in the land.

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The protagonist possesses, by conventional nineteenth century moral standards, a highly dubious character, and the tendency amongst Bulwer-Lytton’s contemporaries was to heavily associate the author with his characters. He was criticised for not choosing to employ his talents on worthier and more deserving protagonists. According to Leslie George Mitchell, the author of Bulwer Lytton: The Rise and Fall of a Victorian Man of Letters, Bulwer-Lytton’s mother was appalled by his choice of subject and viewed the work as an attack on Christianity. In fact, Bulwer-Lytton actually later withdrew the novel from publication as he believed it could possibly have a negative and detrimental effect on the morals of its readers.

A man reading the Dickens novel wished that it might never end. Men read a Dickens story six times because they knew it so well.

Victorian novels come to us, that is, poised between questions of outer and inner, public and private life; they tend to contrast and nally to oppose the individual to social forces; they promise that we will nd a similar equilibrium in our own lives.

I wanted to live in a clean, renovated Victorian house full of books, not a rough-hewn, unfinished industrial loft. I wanted to raise bright, good kids, to write bright, good novels in a quiet study, to cook wholesome meals and listen to Bach. He wanted to play loud amplified music, sleep late, drink tequila, and travel. It seemed to me that we didn’t want to be the people we’d married each other for.

The business was beginning to sound like something from a Victorian novel, with a reclusive old woman having hidden a lot of ancient documents somewhere in the depths of her cluttered house.

How many children could say their home hosted the humblest and highest at the same time, on any given evening invaded by expatriates their father never hesitated to invite in? Through the back door he welcomed a bookseller, organ grinder, biscuit maker, vagrant macaroni man, and one called Galli who thought he was Christ. Through the front, disgraced Italian counts and generals made as officious entrances as a small house on Charlotte Street afforded.

One day in the country was worth a month in town and better than Christmas, her birthday, or even Papa saying she was like the moon risen at the full.

But traveling faster than light would require infinite energy; it is possible on paper, not in practice. More recently, physicists have theorized other ways that physical travel into the past could be achieved, but they are still exotic and expensive. A technological civilization thousands or more years in advance of our own, one able to harness the energy of its whole galaxy, could create a wormhole linking different points in the fabric of spacetime and send a spaceship through it.8 It is an idea explored widely in science fiction and depicted vividly in Christopher Nolan’s 2014 film Interstellar. But all this is academic for our purposes. For Gleick, what we are really talking about with time travel is a thought experiment about the experiencer—the passenger—in a novel, disjointed relationship to the external world. We can readily perform feats of “mental time travel,” or at least simulate such feats, as well as experience a dissociation between our internal subjective sense of time and the flux of things around us and even our own bodies.9 According to Gleick, part of what suddenly facilitated four-dimensional thinking in both popular writing and the sciences was the changing experience of time in an accelerating society. The Victorian age, with its steam engines and bewildering pace of urban living, increased these experiences of dissociation, and they have only intensified since then. Time travel, Gleick argues, is basically just a metaphor for modernity, and a nifty premise upon which to base literary and cinematic fantasies that repair modernity’s traumas. It also shines a light on how confused we all are about time. The most commonly voiced objection to time travel—and with it, precognition—is that any interaction between the future and past would change the past, and thus create a different future. The familiar term is the grandfather paradox: You can’t go back in time and kill your grandfather because then you wouldn’t have been born to go back in time and kill your grandfather (leaving aside for the moment the assumed inevitability of wanting to kill your grandfather, which is an odd assumption). The technical term for meddling in the past this way is “bilking,” on the analogy of failing to pay a promised debt.10 Whatever you call it, it is the kind of thing that, in Star Trek, would make the Enterprise’s computer start to stutter and smoke and go haywire—the same reaction, in fact, that greets scientific claims of precognition. (As Dean Radin puts it, laboratory precognition results like those cited in the past two chapters “cause faces to turn red and sputtering noises to be issued from upset lips.”11) Information somehow sent backward in time from an event cannot lead to a future that no longer includes that event—and we naturally intuit that it would be very hard not to have such an effect if we meddled in the timeline. Our very presence in the past would change things.

There was nothing she loved better than gathering all the little details needed for a perfect event, lining them up with neat little rows, and then causing them to dance like a room full of Victorian lords and ladies.

Then everything is yours and you belong to everyone.

We do not know the elementary laws of cleanli-ness. We spit anywhere on the carriage floor, irrespective of the thoughts that it is often used as sleeping space.

When it comes to actually making a positive contribution to the system, we lock ourselves along with our families into a safe cocoon and look into the distance at countries far away and wait for a Mr. Clean to come along and work miracles for us with a majestic sweep of his hand or we leave the country and run away. Like lazy cowards hounded by our fears, we run to America to bask in their glory and praise their system. When New York becomes insecure, we run to England. When England experiences unemployment, we take the next flight out to the Gulf. When the Gulf is war struck, we demand to be rescued and brought home by the Indian government.

I wanted to say it is a matter of deep humiliation and shame for us that I am compelled this evening under the shadow of this great college, in this sacred city, to address my countrymen in a language that is foreign to me.

In India we only read about death, sickness, terrorism, crime. Why are we so negative?

You say that our country has been fed to the dogs and is the absolute pits. You say, say and say. What do you do about it?

Later I realised that when they flatter you it means they show pity. And when they actually say something negative, it means they respect you.

Defeat gives you the courage to experiment.

Once in an interview, the famous ex-municipal commis-sioner of Bombay, Mr. Tinaikar, had a point to make. “Rich people’s dogs are walked on the streets to leave their affluent droppings all over the place,” he said. “And then the same people turn around to criticize and blame the authorities for inefficiency and dirty pavements. What do they expect the officers to do? Go down with a broom every time their dog feels the pressure in his bowels? In America every dog owner has to clean up after his pet has done the job, and the same is in Japan. Will the Indian citizen do that here?

Why do you worry without cause? Whom do you fear without reason? Who can kill you? The soul is neither born, nor does it die.

It is this false happiness that is the cause of your sorrows.

I am proud to belong to a religion which has taught the world both tolerance and universal acceptance.