Our Mutual Friend and the daughter's book of the dead

2019 ◽  
Vol 27 ◽  
pp. 275-292
Author(s):  
Zeynep Harputlu Shah

This article examines the ways in which the Victorian body and identity were being transformed in the mid-nineteenth century and identifies three distinctive ways the biological and normative boundaries of the body were violated as represented in Dickens’s fiction: the grotesque body, the vulnerable body and the dead body. In this sense, Dickens’s Bleak House (1851-53) and Our Mutual Friend (1864-65) present creative and challenging literary responses to the Victorian body abjected through deprivation, physical vulnerability and death. In the novels, the grotesque body challenges the abject via a tragicomic and hybrid representation of the body and of character. Regarding the vulnerable body, the study elaborates on a body “out-of-control”, threatening the boundaries between the object and the subject, inside and outside, by holding a liminal state through ill-health, excessive labour, starvation and physical degradation. Finally, it is argued that there was an intimate and abject relationship between the living and the dead bodies in the capital, beside prevalent infant deaths, high mortality rates, diseased bodies and overflowing graveyards in the city.


1974 ◽  
Vol 4 (4) ◽  
pp. 267-273
Author(s):  
Victor W. Marshall

How does one review a book that both succeeds and fails spectacularly, that breaks new ground and then plants what is probably unfertile seed, that rather pretentiously stakes a claim to a “new area” of inquiry while grossly neglecting related extant work? The Twentieth Century Book of the Dead is a difficult book to read that has frustrated, excited, and stimulated me for enough weeks now that, though I still don't know how to review it, I am motivated to offer some advice to the naive reader which might at least assist him to read it (for it is indeed well worth the effort), and to add some comments of my own.


Author(s):  
Francesco Giordana ◽  
Veselin Efremov ◽  
Gael Sourimant ◽  
Silvia Rasheva ◽  
Natasha Tatarchuk ◽  
...  

1994 ◽  
Vol 49 (1) ◽  
pp. 50-74 ◽  
Author(s):  
Howard W. Fulweiler

Our Mutual Friend, published just six years after Darwin's The Origin of Species, is structured on a Darwinian pattern. As its title hints, the novel is an account of the mutual-though hidden-relations of its characters, a fictional world of individuals seeking their own advantage, a "dismal swamp" of "crawling, creeping, fluttering, and buzzing creatures." The relationship between the two works is quite direct in light of the large number of reviews on science, evolution, and The Origin from 1859 through the early 1860s in Dicken's magazine, All the Year Round. Given the laissez-faire origin of the Origin, Dicken's use of it in a book directed against laissez-faire economics is ironic. Important Darwinian themes in the novel are predation, mutual relationships, chance, and, especially, inheritance, a central issue in both Victorian fiction and in The Origin of Species. The novel asks whether predatory self-seeking or generosity should be the desired inheritance for human beings. The victory of generosity is symbolized by a dying child's "willing" his inheritance of a toy Noah's Ark, "all the Creation," to another child. Our Mutual Friend is saturated with the motifs of Darwinian biology, therefore, to display their inadequacy. Although Dickens made use of the explanatory powers of natural selection and remained sympathetic to science, the novel transcends and opposes its Darwinian structure in order to project a teleological and designed evolution in the human world toward a moral community of responsible men and women.


Author(s):  
Ian Duncan

This chapter situates Our Mutual Friend at the intersection of nineteenth-century projects of culture: the antiquarian, pedagogical, and anthropological. Silas Wegg and the doll’s dressmaker, Jenny Wren, represent competing versions of the novel’s imaginative sources in popular culture, attached to successive historical stages. Wegg is a corrupt avatar of the Romantic ballad revival, with its commitments to antiquarian nationalism and a degenerationist cultural history. Jenny personifies a communal heritage of folktales, fairy tales, and nursery rhymes, absorbed organically in childhood, anticipating the anthropological claim on these materials, in the decades after Dickens’s death, as relics of a universal ‘savage mind’. Our Mutual Friend resists both programmes, the anthropological as well as the antiquarian, in counterpoint to its well-studied critique of the acquisition of culture through formal schooling.


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