TAMARA S. WAGNER. Financial Speculation in Victorian Fiction. Plotting Money and the Novel Genre, 1815-1901.

2011 ◽  
Vol 62 (254) ◽  
pp. 318-320
Author(s):  
U. K. Dencovski
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.


2019 ◽  
Vol 8 (1) ◽  
pp. 161-177
Author(s):  
Bożena Kucała

Abstract This paper analyses Richard Flanagan’s novel Wanting (2008) as a narrative informed by a revisionary and critical attitude to nineteenth-century ideologies, which is common to, and, indeed, stereotypical in much neo-Victorian fiction. Drawing on the biographies of two eminent Victorians: Charles Dickens and Sir John Franklin, Flanagan constructs their fictional counterparts as split between a respectable, public persona and a dark, inner self. While all the Victorian characters are represented as “other” than their public image, the focus in the novel, and in this paper, is on Dickens’s struggle to reconcile social propriety with his personal discontent. Flanagan represents this conflict through Dickens’s response to the allegations that starving survivors of Franklin’s ill-fated Arctic expedition resorted to cannibalism. The zeal with which the Victorian writer refuted such reports reveals his own difficulty in living up to social and moral norms. The paper argues that the main link between the different narrative strands in the novel is the challenge they collectively pose to the distinction between the notions of civilization and savagery.


2019 ◽  
pp. 170-188
Author(s):  
Robert Markley

The final chapter considers Robinson’s two most recent novels, Aurora (2015) and New York 2140 (2017), that offer different visions of the future. Aurora drives a stake through the heart of interstellar romance by depicting the failed mission of a multigenerational starship to colonize another solar system. Narrated in large measure by the spaceship’s artificial intelligence, Aurora brilliantly experiments with the narrative structures of sf even as it explores the ecological and biogeographical limits of terrestrial life. New York 2140, in contrast, depicts the struggle for the city’s political and environmental future in a future where a sea-level rise of forty feet above today’s level has occurred and rampant financial speculation still drives a capitalist worldview. Rather than a dystopian struggle for survival, however, the novel offers a utopian comedy of political and ecological regeneration.


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