Against the city of objects: Our Mutual Friend, Mary Poppins,

2003 ◽  
pp. 142-165
Keyword(s):  
Our Mutual Friend ◽  
The City ◽  
Mutual Friend

scholarly journals “Pictures in the Fire”: the Dickensian Hearth and the Concept of History

2009 ◽  
pp. 0 ◽  
Author(s):  
Adelene Buckland
Keyword(s):  
Conflict Resolution ◽  
Global Markets ◽  
Social Vision ◽  
Imperial Expansion ◽  
The Fantastic ◽  
Our Mutual Friend ◽  
Coal Reserves ◽  
The Cost ◽  
The City ◽  
Mutual Friend

Abstract At the symbolic centre of every Dickens novel is the roaring fire of a domestic hearth. Readers of Dickens frequently related clustering in familial groups around a fireplace, sharing in the fire’s uncertain pools of light and warmth while they read the text aloud. And within the texts themselves, the Dickens fireside has been seen as an idyllic space of conflict resolution: as Alexander Welsh has put it, “if the problem that besets” Dickens “can be called the city, his answer can be named the hearth.” This essay seeks to remember the materiality of the fireside alongside its more symbolic evocations. Comparing Dickens’s representation of the coal fuelling the fires of A Christmas Carol (1843) and Our Mutual Friend (1865), written over twenty years later, and taking in several short fictions published in Household Words in the intervening decade, it shows that Dickens often based plots of fictional transformation on the fantastic metamorphoses embodied in the lump of coal itself. While there was something exuberant about this change in the 1840s and 1850s, when Britain’s plentiful coal supplies were frequently imagined as tokens of a divine plan favourable to British industrial and imperial expansion, the darkening mood of Dickens’s late fiction chimed with contemporary fears about the waste and depletion of resources and the increasing competitiveness of the global markets. Most importantly, however, throughout his career the material dimension of coal offered Dickens both narrative possibility, and representational trouble. So important was it to his social vision that he often overlooked the cost of coal in his desire to keep his poorest characters warm, and in the 1860s he repeatedly ridiculed the national panic that Britain’s coal reserves might run out. Thinking about Dickens’s firesides as both symbolic and material spaces, fuelled by the coal whose history was of such fascination to the readers of Household Words, we see that the hearth was not only Dickens’s all-solving “answer” to the problems of the “city.” It was a space in which many of his most central concerns would sit in unequal, and unresolved, tension.

Our Mutual Friend

2008 ◽  
Author(s):  
Charles Dickens
Keyword(s):  
Individual Identity ◽  
The Novel ◽  
Financial Speculation ◽  
Our Mutual Friend ◽  
The City ◽  
Mutual Friend

Following his father's death John Harmon returns to London to claim his inheritance, but he finds he is eligible only if he marries Bella Wilfur. To observe her character he assumes another identity and secures work with his father's foreman, Mr Boffin, who is also Bella's guardian. Disguise and concealment play an important role in the novel and individual identity is examined within the wider setting of London life: in the 1860s the city was aflame with spiralling financial speculation while thousands of homeless scratched a living from the detritus of the more fortunate-indeed John Harmon's father has amassed his wealth by recycling waste. This edition includes extensive explanatory notes and significant manuscript variants.

"A Dismal Swamp": Darwin, Design, and Evolution in Our Mutual Friend

1994 ◽  
Vol 49 (1) ◽  
pp. 50-74 ◽  
Author(s):  
Howard W. Fulweiler
Keyword(s):  
The Novel ◽  
Human Beings ◽  
Origin Of Species ◽  
Victorian Fiction ◽  
Dismal Swamp ◽  
Human World ◽  
Laissez Faire ◽  
Our Mutual Friend ◽  
The Relationship ◽  
Mutual Friend

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.

Our Mutual Friend

2018 ◽  
pp. 284-298
Author(s):  
Ian Duncan
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
Cultural History ◽  
Fairy Tales ◽  
Formal Schooling ◽  
Our Mutual Friend ◽  
Savage Mind ◽  
Mutual Friend

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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