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Mrs Dalloway

January 28, 2010 by Roy Johnson

tutorial, characters, video, criticism, study resources

Mrs Dalloway (1925) is probably the most accessible of Virginia Woolf’s great modernist novels. A day in the life of a London society hostess is used as the structure for her experiments in multiple points of view. The themes she explores are the nature of personal identity; memory and consciousness; the passage of time; and the tensions between the forces of Life and Death. The novel abandons conventional notions of plot in favour of a mosaic of events.

Virginia Woolf - portrait

Virginia Woolf

She gives a very lyrical response to the fundamental question, ‘What is it like to be alive?’ And her answer is a sensuous expression of metropolitan existence. The novel also features her rich expression of ‘interior monologue’ as a narrative technique, and it offers a subtle critique of society recovering in the aftermath of the first world war. This novel is now seen as a central text of English literary modernism.


Mrs Dalloway – plot summary

The novel covers one day from morning to night in a woman’s life – Clarissa Dalloway, an upper-class society wife. As the novel opens she walks through the streets of London in the morning, getting ready to host a party that evening. The pleasant day reminds her of her youth at Bourton and makes her wonder about her choice of husband. She married the reliable Richard Dalloway instead of the enigmatic and demanding Peter Walsh, and she had not the option to be with Sally Seton towards whom she felt a strong attraction. Peter reintroduces these conflicts by paying a visit that morning, having returned from India that day. After his visit, he wanders off into Regent’s Park.

Virginia Woolf Mrs DallowayThe point of view then shifts to Septimus Warren Smith, a veteran of World War I who is suffering from post traumatic stress (or ‘shell shock’ as it was first known). He is spending his day in the Park with his Italian-born wife, Lucrezia, waiting for an appointment with Sir William Bradshaw, a celebrated psychiatrist. Septimus is visited by frequent and indecipherable hallucinations, mostly concerning his dear friend Evans who died in the war. He cannot see anything of worth in the England he fought for, and he believes his lack of feeling is a crime. However, Sir William does not listen to him and diagnoses ‘a lack of proportion’. He proposes to send Septimus to a mental institution.

The scene switches again to conservative MP Richard Dalloway taking lunch with Hugh Whitbread and Lady Bruton, members of high society. After lunch, Richard returns home to Clarissa with a large bunch of roses. He intends to tell her that he loves her but finds that he cannot. Clarissa considers the void that exists between people, even between husband and wife.

Clarissa sees off her daughter Elizabeth and her history teacher, Miss Kilman, who are going shopping. The two older women dislike one another quite passionately, each believing the other to be an oppressive force over Elizabeth. Meanwhile, Septimus and Lucrezia are in their apartment, enjoying a moment of happiness together before the men come to take Septimus to the asylum. One of Septimus’s doctors, Dr. Holmes, arrives, and Septimus fears the doctor will destroy his soul. In order to avoid this fate, he jumps from a window to his death on the railings below.

In the evening, most of the novel’s characters (including people from her past) assemble for Clarissa’s party. It turns out to be a big success, but Clarissa cannot help feeling wistful about her friends and the fact that most of them have not achieved the dreams of their youth. She feels that even her daughter Elizabeth will be the same.

When Sir William Bradshaw arrives late his wife explains that one of his patients has committed suicide. Hearing this, Clarissa gradually identifies with Septimus, and feels that she understands his motives. She retires to reflect on the matter, seeing people such as Sir William Bradshaw antithetical to life, and admiring Septimus for his courage in resisting medical bullying.

The party nears its close, and the guests begin to leave, hereupon Clarissa re-enters the room and fills it with her ‘presence’. This fills Peter Walsh with awe, for despite his criticisms of Clarissa for leadingthe shallow life of a society hostess, he is forced to admit to himself that he admires her.


Video lecture

Part I of biographical documentary


Mrs Dalloway – study resources

Red button Mrs Dalloway – Oxford World Classics – Amazon UK

Red button Mrs Dalloway – Oxford World Classics – Amazon US

Red button Mrs Dalloway – Penguin Classics – Amazon UK

Red button Mrs Dalloway – Penguin Classics – Amazon US

Red button Mrs Dalloway – Everyman Library Classics – Amazon UK

Red button Mrs Dalloway – Everyman Library Classics – Amazon US

Red button Mrs Dalloway – York Notes – Amazon UK

Red button Mrs Dalloway – Cliffs Notes – Amazon UK

Red button Approaches to Teaching Mrs Dalloway – Amazon UK

Red button The Cornell Guide to Mrs Dalloway – Amazon UK

Red button Mrs Dalloway – free eBook edition

Red button Mrs Dalloway – 1998 dramatisation on DVD – Amazon UK

Red button Mrs Dalloway – a facsimile page from Woolf’s manuscript

Red button Mrs Dalloway – Virginia Woolf as a Modernist Writer – essay

Red button Virginia Woolf – biographical notes

Orlando The Complete Works of Virginia Woolf – Kindle edition – Amazon UK

Red button The Mrs Dalloway Reader – critical essays – Amazon UK

Red button Approaches to Teaching Mrs Dalloway – Amazon UK

Red button Selected Essays – by Virginia Woolf – Amazon UK

Red button The Cambridge Companion to Virginia Woolf – Amazon UK

Red button Virginia Woolf – Authors in Context – Amazon UK

Red button The Cambridge Introduction to Virginia Woolf – Amazon UK

Red button Virginia Woolf at Wikipedia – biographical notes, links

Red button Virginia Woolf at Mantex – tutorials, web links, study materials


Photomontage

Mrs Dalloway’s walk – through modern day London


Principal characters
Richard Dalloway a conservative Member of Parliament
Clarissa Dalloway his wife – a society hostess
Elizabeth Dalloway their 17 year old daughter
Septimus Warren Smith a shell-shocked WWI veteran
Lucrezia Smith his wife – an Italian millener
Peter Walsh a romantic admirer of Clarissa’s
Sally Seaton childhood close friend of Clarissa’s
Hugh Whitbread a vacuous English gentleman
Doris Kilman born-again Christian, Elizabeth’s teacher
Sir William Bradshaw renowned London psychiatrist
Dr Holmes Septimus’ unimaginative doctor
Lady Bruton society lady and do-gooder
Evans Septimus’s close friend in the war

Virginia Woolf podcast

A eulogy to words


Further reading

Red button Bell, Quentin. Virginia Woolf: A Biography. New York: Harcourt Brace Jovanovich, 1972.

Red button Bloom, Harold, ed. Modern Critical Interpretations: Virginia Woolf’s Mrs. Dalloway. New York: Chelsea House, 1988.

Red button Dowling, David. Mrs. Dalloway: Mapping Streams of Consciousness. Boston: Twayne, 1991.

Red button Lee, Hermione. Virginia Woolf. New York: Alfred A. Knopf, 1997.

Red button Marsh, Nicholas. Virginia Woolf, the Novels. New York: St. Martin’s Press, 1998.

Red button Mepham, John. Virginia Woolf. New York: St. Martin’s Press, 1992.

Red button Reinhold, Natalya, ed. Woolf Across Cultures. New York: Pace University Press, 2004.

Red button Rosenthal, Michael. Virginia Woolf: A Critical Study. New York: Columbia University Press, 1979.

Red button Sellers, Susan, The Cambridge Companion to Vit=rginia Woolf, Cambridge University Press, 2010.

Red button Showalter, Elaine. ‘Mrs. Dalloway: Introduction’. In Virginia Woolf: Introductions to the Major Works, edited by Julia Briggs. London: Virago Press, 1994.

Red button Woolf, Virginia. The Common Reader. New York: Harvest Books, 2002.

Red button Mrs. Dalloway’s Party: A Short Story Sequence. Edited by Stella McNichol. New York: Harcourt Brace Jovanovich, 1975.

Red button Zwerdling, Alex. Virginia Woolf and the Real World. Berkeley: University of California Press, 1986.


Virginia Woolf's handwriting

“I feel certain that I am going mad again.”


Mrs Dalloway – first edition

Mrs Dalloway - first edition

Virginia Woolf, Mrs. Dalloway (1925) Dust jacket designed by Vanessa Bell.

This appeared only a few weeks after the publication of The Common Reader and although the reviews were mixed, the book had sold 2,000 copies by the end of the year.

This is the first of Virginia Woolf’s three great masterpieces (along with To the Lighthouse and The Waves. In it, she developed the experimental literary techniques which had been tried out in Jacob’s Room and brought them to an achievement of a high order.

“The reviews when they came were mixed, and so was Bloomsbury’s reaction. E.M. Forseter praised Mrs Dalloway and Virginia, gallantly kissing her hand and telling her the novel was better than Jacob’s Room and he was very pleased; but Vita Sackville-West was doubtful; and Lytton Strachey, admiring The Common Reader more, thought the novel was a flawed stone. Readers bought the book, however, and the sales were brisk. By June 18, one month after publication, Virginia noted that 1,250 copies had been sold … Leonard issued a second impression of 1,000 copies in November 1925.”

J.H. Willis Jr, Leonard and Virginia Woolf as Publishers: The Hogarth Press 1917-1941

Vanessa Bell’s design for the jacket of the novel features a bouquet of flowers. Diane Gillespie notes that the “design in which first the white, then the black dominates, the cover anticipates, if only in a general way, the alternating exhilaration and fear, sanity and insanity, as well as life and death which pervade the book”.

Elizabeth Willson Gordon, Woolf’s-head Publishing: The Highlights and New Lights of the Hogarth Press


Mont Blanc pen - Virginia Woolf edition

Mont Blanc pen – the Virginia Woolf special edition


Other works by Virginia Woolf

Virginia Woolf To the LighthouseTo the Lighthouse (1927) is the second of the twin jewels in the crown of her late experimental phase. It is concerned with the passage of time, the nature of human consciousness, and the process of artistic creativity. Woolf substitutes symbolism and poetic prose for any notion of plot, and the novel is composed as a tryptich of three almost static scenes – during the second of which the principal character Mrs Ramsay dies – literally within a parenthesis. The writing is lyrical and philosophical at the same time. Many critics see this as her greatest achievement, and Woolf herself realised that with this book she was taking the novel form into hitherto unknown territory.
Virginia Woolf To the Lighthouse Buy the book at Amazon UK
Virginia Woolf To the Lighthouse Buy the book at Amazon US

 

Woolf - OrlandoOrlando (1928) is one of her lesser-known novels, although it’s critical reputation has risen in recent years. It’s a delightful fantasy which features a character who changes sex part-way through the book – and lives from the sixteenth to the twentieth century. Using this device (which turns out to be strangely credible) Woolf explores issues of gender and identity as her hero-heroine moves through a variety of lives and personal adventures. Orlando starts out as an emissary to the Court of St James, lives through friendships with Swift and Alexander Pope, and ends up motoring through the west end of London on a shopping expedition in the 1920s. The character is loosely based on Vita Sackville-West, who at one time was Woolf’s lover. The novel itself was described by Nigel Nicolson (Sackville-West’s son) as ‘the longest and most charming love-letter in literature’.
Virginia Woolf - Orlando Buy the book at Amazon UK
Virginia Woolf - Orlando Buy the book at Amazon US


The Bloomsbury GroupThe Bloomsbury Group is a short but charming book, published by the National Portrait Gallery. It explores the impact of Bloomsbury personalities on each other, plus how they shaped the development of British modernism in the early part of the twentieth century. But most of all it’s a delightful collection of portrait paintings and photographs, with biographical notes. It has an introductory essay which outlines the development of Bloomsbury, followed by a series of portraits and the biographical sketches of the major figures.

Ralph Partridge Buy the book at Amazon UK
Ralph Partridge Buy the book at Amazon US


Virginia Woolf – web links

Red button Virginia Woolf at Mantex
Biographical notes, study guides to the major works, book reviews, studies of the short stories, bibliographies, web links, study resources.

Virginia Woolf web links Blogging Woolf
Book reviews, Bloomsbury related issues, links, study resources, news of conferences, exhibitions, and events, regularly updated.

Virginia Woolf web links Virginia Woolf at Wikipedia
Full biography, social background, interpretation of her work, fiction and non-fiction publications, photograph albumns, list of biographies, and external web links

Virginia Woolf web links Virginia Woolf at Gutenberg
Selected eTexts of the novels The Voyage Out, Night and Day, Jacob’s Room, and the collection of stories Monday or Tuesday in a variety of digital formats.

Virginia Woolf web links Woolf Online
An electronic edition and commentary on To the Lighthouse with notes on its composition, revisions, and printing – plus relevant extracts from the diaries, essays, and letters.

Virginia Woolf web links Hyper-Concordance to Virginia Woolf
Search texts of all the major novels and essays, word by word – locate quotations, references, and individual terms

Red button Virginia Woolf – a timeline in phtographs
A collection of well and lesser-known photographs documenting Woolf’s life from early childhood, through youth, marriage, and fame – plus some first edition book jackets – to a soundtrack by Philip Glass. They capture her elegant appearance, the big hats, and her obsessive smoking. No captions or dates, but well worth watching.

Virginia Woolf web links Women’s History Walk in Bloomsbury
Tour of literary and political homes in Bloomsbury – including Gordon Square, Gower Street, Bedford Square, Tavistock Square, plus links to women’s history web sites.

Virginia Woolf web links Virginia Woolf Society of Great Britain
Bulletins of events, annual lectures, society publications, and extensive links to Woolf and Bloomsbury related web sites

Virginia Woolf web links BBC Audio Essay – A Eulogy to Words
Charming sound recording of radio talk given by Virginia Woolf in 1937 – a podcast accompanied by a slideshow of photographs.

Virginia Woolf web links A Family Photograph Albumn
Leslie Stephen compiled a photograph album and wrote an epistolary memoir, known as the “Mausoleum Book,” to mourn the death of his wife, Julia, in 1895 – an archive at Smith College – Massachusetts

Virginia Woolf web links Virginia Woolf first editions
Hogarth Press book jacket covers of the first editions of Woolf’s novels, essays, and stories – largely designed by her sister, Vanessa Bell.

Virginia Woolf web links Virginia Woolf – on video
Biographical studies and documentary videos with comments on Virginia Woolf and the Bloomsbury Group and the social background of their times.

Virginia Woolf web links Virginia Woolf Miscellany
An archive of academic journal essays 2003—2014, featuring news items, book reviews, and full length studies.

© Roy Johnson 2010


More on Virginia Woolf
Virginia Woolf – web links
Virginia Woolf – greatest works
Virginia Woolf – criticism
More on the Bloomsbury Group


Filed Under: Virginia Woolf Tagged With: English literature, Literary studies, Mrs Dalloway, study guide, The novel, Virginia Woolf

Mrs Medwin

June 17, 2012 by Roy Johnson

tutorial, commentary, study resources, and web links

Mrs Medwin first appeared in Punch in August-September 1901. It is collected in Volume XI of The Complete Tales of Henry James (Rupert Hart-Davis) 1964.

Mrs Medwin


Mrs Medwin – critical commentary

This is a lightweight social comedy that might easily have been written by Oscar Wilde, except that it includes the typical Jamesian theme of contrasting European and American manners.

Mamie Carter and Scott Homer are Americans who are regarded as something quaint by the English characters Mrs Medwin and Lady Wantridge. And it is the Europeans who live in a system of strict social protocols and a snobbish notion of hierarchies based ultimately on class and wealth. Scott Homer expresses this to his sister when he says “They’re dead, don’t you see? And we’re alive”.

Interestingly the story revolves around two characters who have both broken social protocols. Mrs Medwin has done something in the past for which Lady Wantridge cannot at first forgive her. And Scott Homer has done something unspecified which seems to prevent his returning to the United States.

It’s worth noting that story first appeared in the satirical magazine Punch which at that time (1901) published both light fiction and cartoons – to which it gave that name. Punch had also serialised The Diary of a Nobody in the previous decade.


Mrs Medwin – study resources

Mrs Medwin The Complete Works of Henry James – Kindle edition – Amazon UK

Mrs Medwin The Complete Works of Henry James – Kindle edition – Amazon US

Mrs Medwin Complete Stories 1898—1910 – Library of America – Amazon UK

Mrs Medwin Complete Stories 1898—1910 – Library of America – Amazon US

Mrs Medwin Mrs Medwin – Digireads reprint edition – Amazon UK

Mrs Medwin Mrs Medwin – eBook at Project Gutenberg

Mrs Medwin Mrs Medwin – read the story on line

Red button The Cambridge Companion to Henry James – Amazon UK

Red button The Prefaces of Henry James – Introductions to his tales and novels

Red button Henry James at Wikipedia – biographical notes, links

Red button Henry James at Mantex – tutorials, biography, study resources

Mrs Medwin


Mrs Medwin – plot summary

Part I. Mamie Cutter is a middle-aged American spinster living in straightened circumstances in London, and hoping to get on in society. Her indolent half-brother Scott Homer is trying to sponge money from her as she prepares to receive Mrs Medwin.

Part II. Mrs Medwin is an unattractive English woman who also wishes to make social connections. She’s prepared to pay Mamie in order to produce introductions.

Part III. When Mamie pleads on Mrs Medwin’s behalf to social arbiter Lady Wantridge she receives a negative response. But Mamie persists, having given Mrs Medwin her promise of success, and having received the fee for doing it.

Part IV. But when Lady Wantridge meets Scott Homer she is charmed by his idiosyncrasies and his wit. She wants to invite him to her establishment at Catchmore. But Mamie arranges that he will only accept after Lady Wantridge has agreed to meet Mrs Medwin – which she does, then inviting her and Scott Homer to meet a grand duke at a weekend party.


Principal characters
Miss Mamie Cutter middle-aged spinster
Scott Homer her half brother
Mrs Medwin an unattractive middle-aged woman
Lady Wantridge a social arbiter
Catchmore Lady Wantridge’s estate

Henry James's study

Henry James’s study


Further reading

Biographical

Red button Theodora Bosanquet, Henry James at Work, University of Michigan Press, 2007.

Red button Philip Horne (ed), Henry James: A Life in Letters, Viking/Allen Lane, 1999.

Red button Henry James, The Letters of Henry James, Adamant Media Corporation, 2001.

Red button Fred Kaplan, Henry James: The Imagination of Genius, Johns Hopkins University Press, 1999

Critical commentary

Red button Millicent Bell, Meaning in Henry James, Cambridge (MA): Harvard University Press, 1993.

Red button Kirstin Boudreau, Henry James’s Narrative Technique, Macmillan, 2010.

Red button Daniel Mark Fogel, A Companion to Henry James Studies, Greenwood Press, 1993.

Red button Jonathan Freedman, The Cambridge Companion to Henry James, Cambridge University Press, 1998.

Red button Richard A. Hocks, Henry James: A study of the short fiction, New York: Twayne Publishers, 1990.

Red button Colin Meissner, Henry James and the Language of Experience, Cambridge University Press, 2009

Red button John Pearson (ed), The Prefaces of Henry James, Pennsylvania State University Press, 1993.

Red button Ruth Yeazell (ed), Henry James: A Collection of Critical Essays, Longmans, 1994.


Other works by Henry James

Henry James The Aspern PapersThe Aspern Papers (1888) is a psychological drama set in Venice which centres on the tussle for control of a great writer’s correspondence. An elderly lady, ex-lover of the writer, seeks a husband for her daughter. But the potential purchaser of the papers is a dedicated bachelor. Money is also at stake – but of course not discussed overtly. There is a refined battle of wills between them. Who will win in the end? As usual, James keeps the reader guessing. The novella is a masterpiece of subtle narration, with an ironic twist in its outcome. This collection of stories also includes three of his accomplished long short stories – The Private Life, The Middle Years, and The Death of the Lion.
Henry James The Aspern Papers Buy the book from Amazon UK
Henry James The Aspern Papers Buy the book from Amazon US

Henry James The Spoils of PoyntonThe Spoils of Poynton (1896) is a short novel which centres on the contents of a country house, and the question of who is the most desirable person to inherit it via marriage. The owner Mrs Gereth is being forced to leave her home to make way for her son and his greedy and uncultured fiancee. Mrs Gereth develops a subtle plan to take as many of the house’s priceless furnishings with her as possible. But things do not go quite according to plan. There are some very witty social ironies, and a contest of wills which matches nouveau-riche greed against high principles. There’s also a spectacular finale in which nobody wins out.
Henry James The Spoils of Poynton Buy the book from Amazon UK
Henry James The Spoils of Poynton Buy the book from Amazon US

Henry James Daisy MillerDaisy Miller (1879) is a key story from James’s early phase in which a spirited young American woman travels to Europe with her wealthy but commonplace mother. Daisy’s innocence and her audacity challenge social conventions, and she seems to be compromising her reputation by her independent behaviour. But when she later dies in Rome the reader is invited to see the outcome as a powerful sense of a great lost potential. This novella is a great study in understatement and symbolic power.
Daisy Miller Buy the book from Amazon UK
Daisy Miller Buy the book from Amazon US


Henry James – web links

Henry James web links Henry James at Mantex
Biographical notes, study guides, tutorials on the Complete Tales, book reviews. bibliographies, and web links.

Henry James web links The Complete Works
Sixty books in one 13.5 MB Kindle eBook download for £1.92 at Amazon.co.uk. The complete novels, stories, travel writing, and prefaces. Also includes his autobiographies, plays, and literary criticism – with illustrations.

Henry James web links The Ladder – a Henry James website
A collection of eTexts of the tales, novels, plays, and prefaces – with links to available free eTexts at Project Gutenberg and elsewhere.

Red button A Hyper-Concordance to the Works
Japanese-based online research tool that locates the use of any word or phrase in context. Find that illusive quotable phrase.

Henry James web links The Henry James Resource Center
A web site with biography, bibliographies, adaptations, archival resources, suggested reading, and recent scholarship.

Henry James web links Online Books Page
A collection of online texts, including novels, stories, travel writing, literary criticism, and letters.

Henry James web links Henry James at Project Gutenberg
A major collection of eTexts, available in a variety of eBook formats.

Henry James web links The Complete Letters
Archive of the complete correspondence (1855-1878) work in progress – published by the University of Nebraska Press.

Henry James web links The Scholar’s Guide to Web Sites
An old-fashioned but major jumpstation – a website of websites and resouces.

Henry James web links Henry James – The Complete Tales
Tutorials on the complete collection of over one hundred tales, novellas, and short stories.

© Roy Johnson 2012


More tales by James
More on literature
More on the novella
More on literary studies
More on short stories


Filed Under: James - Tales Tagged With: English literature, Henry James, Literary studies, Mrs Medwin, The Short Story

My Friend Bingham

August 5, 2013 by Roy Johnson

tutorial, commentary, study resources, plot, and web links

My Friend Bingham first appeared in The Atlantic Monthly magazine for March 1867. Its initial appearance in book form was as part of the collection Eight Uncollected Tales of Henry James published by Rutgers University Press in 1950.

My Friend Bingham

Summer at Newport


My Friend Bingham – critical commentary

It is difficult to know what to make of this very early story except as a very oblique take on the theme of ‘fear of heterosexual intimacy’ – a theme which certainly sits comfortably alongside many of James’s other tales. Bingham has returned from the grand European tour with the resolution that he will not get married. However, he is accidentally brought into contact with Lucy. Quite apart from her intelligence and integrity (which are told about, but not shown) she is a widow.

One cannot escape the ‘shotgun’ connection between this meeting and marrying her. He even provides the gun himself. In other words, he feels obliged to compensate for the accidental shooting of her son by making her an offer of marriage. But following the marriage she never has any other children – so he escapes the fear of procreation after all.


My Friend Bingham – study resources

My Friend Bingham The Complete Works of Henry James – Kindle edition – Amazon UK

My Friend Bingham The Complete Works of Henry James – Kindle edition – Amazon US

My Friend Bingham Complete Stories 1864—1874 – Library of America – Amazon UK

My Friend Bingham Complete Stories 1864—1874 – Library of America – Amazon US

Red button The Cambridge Companion to Henry James – Amazon UK

Red button Henry James at Wikipedia – biographical notes, links

Red button Henry James at Mantex – tutorials, biography, study resources

My Friend Bingham


My Friend Bingham – plot summary

Charles the narrator and his close friend George Bingham decide to spend a summer holiday together by the sea. Bingham, after travelling in Europe, has decided not to get married. Whilst they are on the beach hunting duck Bingham accidentally shoots a young boy who is playing with his mother.

Charles visits Lucy the grieving mother and offers to help. She is very forgiving and understanding about the accident. The two men attand the boy’s funeral, after which Charles returns to New York.

Ten days later Bingham visits Charles to say how impressed he is with Lucy, then goes off to see her again. He reports back to say that he is even more impressed with her, and finally admits to Charles that he has fallen in love with her.

However, on his next visit he reports that Lucy has been expelled from her holiday cottage by the landlady Miss Horner, who disapproves of the liaison, and so Bingham has brought Lucy back to New York. Charles goes to visit Lucy, and he too is very impressed by her intelligence and integrity.

When he nexts goes to visit her, Bingham is there, and announces that he has asked her to be his wife. She accepts him; they are happily married; but she never has any other children.


My Friend Bingham – principal characters
Charles the first person narrator, 28
George Bingham his rich and good-looking close friend, 30
Mrs Lucy Hicks a poor widow
Miss Margaret Horner her landlady, a relative

Further reading

Biographical

Red button Theodora Bosanquet, Henry James at Work, University of Michigan Press, 2007.

Red button F.W. Dupee, Henry James: Autobiography, Princeton University Press, 1983.

Red button Leon Edel, Henry James: A Life, HarperCollins, 1985.

Red button Philip Horne (ed), Henry James: A Life in Letters, Viking/Allen Lane, 1999.

Red button Henry James, The Letters of Henry James, Adamant Media Corporation, 2001.

Red button Fred Kaplan, Henry James: The Imagination of Genius, Johns Hopkins University Press, 1999

Red button F.O. Matthieson (ed), The Notebooks of Henry James, Oxford University Press, 1988.

Critical commentary

Red button Elizabeth Allen, A Woman’s Place in the Novels of Henry James London: Macmillan Press, 1983.

Red button Ian F.A. Bell, Henry James and the Past, London: Palgrave Macmillan, 1993.

Red button Millicent Bell, Meaning in Henry James, Cambridge (MA): Harvard University Press, 1993.

Red button Harold Bloom (ed), Modern Critical Views: Henry James, Chelsea House Publishers, 1991.

Red button Kirstin Boudreau, Henry James’s Narrative Technique, Macmillan, 2010.

Red button J. Donald Crowley and Richard A. Hocks (eds), The Wings of the Dove, New York: W.W. Norton and Company, 1978.

Red button Victoria Coulson, Henry James, Women and Realism, Cambridge University Press, 2009.

Red button Daniel Mark Fogel, A Companion to Henry James Studies, Greenwood Press, 1993.

Red button Virginia C. Fowler, Henry James’s American Girl: The Embroidery on the Canvas, Madison (Wis): University of Wisconsin Press, 1984.

Red button Jonathan Freedman, The Cambridge Companion to Henry James, Cambridge University Press, 1998.

Red button Judith Fryer, The Faces of Eve: Women in the Nineteenth Century American Novel, Oxford: Oxford University Press, 1976

Red button Roger Gard (ed), Henry James: The Critical Heritage, London: Routledge, 1968.

Red button Tessa Hadley, Henry James and the Imagination of Pleasure, Cambridge University Press, 2009.

Red button Barbara Hardy, Henry James: The Later Writing (Writers & Their Work), Northcote House Publishers, 1996.

Red button Richard A. Hocks, Henry James: A study of the short fiction, New York: Twayne Publishers, 1990.

Red button Donatella Izzo, Portraying the Lady: Technologies of Gender in the Short Stories of Henry James, University of Nebraska Press, 2002.

Red button Colin Meissner, Henry James and the Language of Experience, Cambridge University Press, 2009

Red button John Pearson (ed), The Prefaces of Henry James, Pennsylvania State University Press, 1993.

Red button Richard Poirer, The Comic Sense of Henry James, Oxford: Oxford University Press, 1967.

Red button Hugh Stevens, Henry James and Sexuality, Cambridge University Press, 1998.

Red button Merle A. Williams, Henry James and the Philosophical Novel, Cambridge University Press, 1993.

Red button Judith Woolf, Henry James: The Major Novels, Cambridge University Press, 1991.

Red button Ruth Yeazell (ed), Henry James: A Collection of Critical Essays, Longmans, 1994.


Other works by Henry James

Henry James Washington SquareWashington Square (1880) is a superb early short novel, It’s the tale of a young girl whose future happiness is being controlled by her strict authoritarian (but rather witty) father. She is rather reserved, but has a handsome young suitor. However, her father disapproves of him, seeing him as an opportunist and a fortune hunter. There is a battle of wills – all conducted within the confines of their elegant New York town house. Who wins out in the end? You will probably be surprised by the outcome. This is a masterpiece of social commentary, offering a sensitive picture of a young woman’s life.
Henry James Washington Square Buy the book from Amazon UK
Henry James Washington Square Buy the book from Amazon US

Henry James The Aspern PapersThe Aspern Papers (1888) is a psychological drama set in Venice which centres on the tussle for control of a great writer’s correspondence. An elderly lady, ex-lover of the writer, seeks a husband for her daughter. But the potential purchaser of the papers is a dedicated bachelor. Money is also at stake – but of course not discussed overtly. There is a refined battle of wills between them. Who will win in the end? As usual, James keeps the reader guessing. The novella is a masterpiece of subtle narration, with an ironic twist in its outcome. This collection of stories also includes three of his accomplished long short stories – The Private Life, The Middle Years, and The Death of the Lion.
Henry James The Aspern Papers Buy the book from Amazon UK
Henry James The Aspern Papers Buy the book from Amazon US


Henry James – web links

Henry James at Mantex
Biographical notes, study guides, tutorials on the Complete Tales, book reviews. bibliographies, and web links.

The Complete Works
Sixty books in one 13.5 MB Kindle eBook download for £1.92 at Amazon.co.uk. The complete novels, stories, travel writing, and prefaces. Also includes his autobiographies, plays, and literary criticism – with illustrations.

The Ladder – a Henry James website
A collection of eTexts of the tales, novels, plays, and prefaces – with links to available free eTexts at Project Gutenberg and elsewhere.

A Hyper-Concordance to the Works
Japanese-based online research tool that locates the use of any word or phrase in context. Find that illusive quotable phrase.

The Henry James Resource Center
A web site with biography, bibliographies, adaptations, archival resources, suggested reading, and recent scholarship.

Online Books Page
A collection of online texts, including novels, stories, travel writing, literary criticism, and letters.

Henry James at Project Gutenberg
A major collection of eTexts, available in a variety of eBook formats.

The Complete Letters
Archive of the complete correspondence (1855-1878) work in progress – published by the University of Nebraska Press.

The Scholar’s Guide to Web Sites
An old-fashioned but major jumpstation – a website of websites and resouces.

Henry James – The Complete Tales
Tutorials on the complete collection of over one hundred tales, novellas, and short stories.

© Roy Johnson 2013


More tales by James
More on literature
More on the novella
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Filed Under: James - Tales Tagged With: English literature, Henry James, Literary studies, The Short Story

Nadine Gordimer – a guide to her writing

November 17, 2009 by Roy Johnson

Nadine Gordimer - portraitNadine Gordimer (1923—2014) was born into a privileged white middle-class family in the Transvaal, South Africa. She began reading at an early age, and published her first story in a magazine when she was only fifteen. Her wide reading informed her about the world on the other side of apartheid – the official South African policy of racial segregation – and that discovery in time developed into strong political opposition to apartheid. She attended the University of Witwatersrand for one year. Her first book was a collection of short stories, The Soft Voice of the Serpent (1952). In addition to writing, she lectured and taught at various schools in the United States during the 1960s and 1970s. She was awarded the Nobel prize for Literature in 1991.

Nadine Gordimer was a writer who started by picking up the modernist baton from authors such as Virginia Woolf, and she is one of the few writers who has taken the techniques of modernism a few steps further. She does this particularly in her short stories, where like Woolf she uses the genre as an experimental kitchen for her longer prose works such as her novellas and full length novels. In fact some of her shorter fiction is more interesting in terms of formal experimentation than her novels, many of which are often rather long and formless – although this is a purely personal opinion.

Her writing is always interesting politically – and she never shirked the difficult issues raised by the legacy of white European domination in South Africa. She’s also an excellent observer of what might be called the politics of gender or sexuality. She writes about the physical relationships between women and men in a way which is honest, frank, revealing, and unsparingly unsentimental.

Some passages in her work render the sexual tensions between men and women more accurately than any writer since D.H.Lawrence – and they have the novelty of often being presented from a woman’s point of view, though she is perfectly capable of writing from a male perspective too. She’s also very good at dealing with issues of sex at the level of furtive assignations and sweaty armpits – something often ignored by serious writers.

Her most experimental work is in some of the short stories; the longer stories and novellas such as July’s Children are nearly as successful, but her novels have not seemed so tightly controlled – with one magnificent exception. The Conservationist which lays bare the whole issue of the white European in black Africa.

 

Nadine Gordimer -The ConservationistThe Conservationist (1974) concerns a white industrialist who farms his land (with native help) at the weekend and genuinely wants to make his presence a positive contribution. But most of all he wants to preserve his power and his privileged way of life – despite being surrounded by poverty and suffering. He just doesn’t understand that the indigenous population are the natural owners of the land, and the result is disastrous – for him.

It’s a marvellous novel which summarises the situation in South Africa in the 1980s – but in a way which casts a shadow right up to the present day. The other issue which this magnificent book conveys is the sense of place which is so important to life in South Africa. The native Africans are dispossessed – yet they are at one with the land. Immigrant landowners might try their best to ‘own’ and ‘cultivate’ the land, but they are never ‘at home’ on it.
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Nadine Gordimer - JumpJump Her development as a writer of short stories is wonderful. She starts off in modern post-Checkhovian mode presenting situations which have little drama but which invite the reader to contemplate states of being or moods which illustrate the ideologies of South Africa. Technically, Nadine Gordimer experiments heavily with point of view, narrative perspective, unexplained incidents, switches between internal monologue and third person narrative (rather like Virginia Woolf) and a heavy use of ‘as if’ prose where narrator-author boundaries become very blurred.
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Nadine Gordimer - Selected StoriesSelected Stories As her work matured, her style and methods underwent a similar development to those of Virginia Woolf. Some of her stories became more lyrical, more compacted and symbolic, abandoning any semblance of conventional story or plot in favour of a poetic meditation on a theme. There are some stories which make enormous demands upon the reader. Sometimes on first reading it’s even hard to know what is going on. But gradually a densely concentrated image or an idea will emerge – the equivalent of a Joycean ‘epiphany’ – and everything falls into place. Her own collection of Selected Stories are UK National Curriculum recommended reading.
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The following extract from The Conservationist gives some idea of her robust prose style, composed of dense, powerful imagery, rich vocabularly, gnarled syntax, and sinuous prose rhythms.

The weather came from the Mozambique Channel.

Space is conceived as trackless but there are beats about the world frequented by cyclones given female names. One of these beats crosses the Indian Ocean by way of the islands of the Seychelles, Madagascar, and the Mascarenes. The great island of Madagascar forms one side of the Channel and shields a long stretch of the east coast of Africa, which forms the other, from the open Indian Ocean. A cyclone paused somewhere miles out to sea, miles up in the atmosphere, its vast hesitation raising a draught of tidal waves, wavering first towards one side of the island then over the mountains to the other, darkening the thousand up-turned mirrors of the rice paddies and finally taking off again with a sweep that shed, monstrous cosmic peacock, gross pailletes of hail, a dross of battering rain, and all the smashed flying detritus of uprooted trees, tin roofs, and dead beasts caught up in it.

© Roy Johnson 2009


Filed Under: 20C Literature Tagged With: English literature, Literary studies, Modern novel, Nadine Gordimer, The Conservationist

Nancy Cunard

July 13, 2018 by Roy Johnson

socialite, rebel, poet, publisher, activist

Nancy Cunard (1896-1965) was heiress to the Anglo-American Cunard shipping line. She was a glamorous and notorious figure in fashionable society of the 1920s and 1930s in both London and Paris. She flouted convention by taking multiple lovers, including in particular one black American jazz pianist. She also espoused left wing causes, was close to the Communist Party, supported anti-racist movements, and ran her own publishing company which produced the works of modern poets.

Nancy Cunard

She was born in 1896 at Neville Holt in Leicestershire, a country house that dates back to the thirteenth century. Her family were super-rich anglicised Americans, owners of the Cunard shipping company. Her father pursued a traditional country gentleman lifestyle, with a favourite hobby of metalwork. Her mother hated the countryside, and covered the Tudor oak panelling of her husband’s walls with white paint.

Nancy’s childhood was typical for the upper class – forty servants in the house and her parents completely absent. When her mother was at home she filled the house with musicians and writers, including the Irish novelist George Moore, who it was thought might have been Nancy’s genetic father. Nancy had a precocious taste in literature and read widely in English and French.

In 1910 her mother began an affair with the conductor Thomas Beecham, left her husband, and moved to London, taking Nancy with her. They lived in Cavendish Square in a grand house rented from Herbert Asquith when he moved into 10 Downing Street as prime minister.

Nancy was a gifted student who finished off her education in Munich and Paris. In 1914, on the eve of war, she befriended Iris Tree and was presented at Court as a debutante. She and Iris set up their own studio in Bloomsbury, and Nancy began writing poetry. She met Wyndham Lewis and Ezra Pound, and became a much-admired figure at the Cafe Royal.

During the following year she suddenly got married to Sydney Fairbairn, a handsome young soldier of whom her mother disapproved. The marriage lasted twenty months, which she later described as the unhappiest of her life. Nancy went to live with Sybil Hart-Davis, who was to have a strong influence on her. She fell in love with another soldier, but he was killed in 1917.

In London she lived an aimless, dissipated life and became a regular at the Eiffel Tower in Fitzrovia where she got ‘buffy’ with various drinking companions. She began preparations to separate herself legally from her husband, then in 1920 emigrated to Paris.This marked a turning point in her life and was the start of her becoming the archetypical ‘Bright Young Thing’. She was vividly attractive, dressed well, smoked and drank to excess, and exercised her sexual independence with gusto.

Her first major conquest around this time was Michael Arlen (real name Dikran Kouyoumdjian) the Armenian writer who was to make his name shortly afterwards with his novel The Green Hat. The next of her many lovers was Aldous Huxley, though she found him physically repellent. Being in bed with him, she said, was like being crawled over by slugs.

In 1921 she published (at her own expense) her first collection of poems – Outlaws. It received favourable reviews, largely written by her friends or by her mother’s influential contacts. She moved restlessly between England, the south of France, and Venice, where she had an affair with Wyndham Lewis, which he described in distinctly unflattering terms in his own memoirs.

She made friends with the Dadaist Tristan Tzara and English travel writer Norman Douglas, and eventually set up her own flat in Paris. In 1925 she produced a long narrative poem Parallax which was published by Leonard and Virginia Woolf at the Hogarth Press,

The following year the next of her amorous conquests was the French surrealist and communist Louis Aragon. His influence reinforced her natural rebelliousness and she began to espouse a number of popular left-wing causes.

Nancy Cunard

When her father died he left her all his money. She bought a house in Normandy sixty miles from Paris. There she set up her own printing press which was dedicated to producing modern poetry in limited editions – though she also published some pornography.

In 1928 she met Henry Crowder in Venice. He was the pianist in an all-black American jazz band led by the violinist Eddie South. At the end of the ‘season’ she took him back to Paris, at the same time adding the English poet and novelist Richard Aldington to her roster of lovers.

She re-established the Hours Press in Paris and published her first real literary discovery – Samuel Beckett. On a trip back to London she organised a private viewing of Bunuel’s surrealist film L’Age d’Or, which at that time was considered shocking to the point of illegality.

Meanwhile Nancy’s mother Lady Cunard was incandescent with rage, having learned that her daughter had a black lover. There were all sorts of anguished racist enquiries regarding the degree of his blackness. In fact Crowder had an African-American father and a Native American mother. There was a rift between mother and daughter, and Nancy’s allowance was reduced, but she spent the rest of her life (as she had spent the first part) living off her parents’ money.

Following this rupture she paid for Crowder’s ticket back to America and went to live in Cagnes with her latest lover, the nineteen year old Raymond Michelet. In 1931 her sympathy for the black cause was fired up by the Scottsboro Boys case, and when Crowder reappeared in Europe she persuaded him to take her to America. She stayed in Harlem for a month and met figures such as Marcus Garvey, Langston Hughes, and W.E.B. Du Bois.

On return to Europe she wrote an essay Black Man and White Ladyship which was partly an apologia for what would later be known as ‘negritude’ and partly a savage attack on the racism of her mother. She had the work privately printed and sent copies to everyone she knew – including her mother’s friends. It caused a sensation and tarnished her reputation, though many would now see it as a brave and prescient work.

In 1932 she conceived the idea of publishing an anthology celebrating black culture and history called Negro (a perfectly acceptable term at that time). More trans-Atlantic crossing were made for ‘research’ and there was controversy wherever she went with the project. She was joined in this endeavour by the young English communist writer Edgell Rickword.

When the book finally appeared in 1934 it was an enormous production – 855 pages, 12″ X 10.5″ format, and two inches thick. In terms of its content, the book was fifty years ahead of its time, with contributions from writers who are now regarded as the fathers (and mothers) of black identity. Commercially it was a flop, partly because of the high cover price (two guineas) and partly because it was ignored by the left-wing press in the UK and the USA because it didn’t toe the party line. Original copies are now collectors’ items, currently retailing at just below twenty thousand Euros.

The relationship with Crowder came to yet another but this time decisive end. Nancy threw herself into politics, visited Moscow, and became a journalist for the Associated Negro Press, reporting from Geneva on the crisis in Abyssinia. When the fight against Mussolini’s aggression failed in 1936 she immediately joined the Republican cause in the Spanish Civil War.

In Madrid she met the young Chilean poet (and consul) Pablo Neruda and later collaborated with him in compiling the now famous anthology Authors Take Sides on the Spanish War (1937) which was entirely her own initiative.

In 1939 she joined the thousands of Spanish refugees fleeing from Franco’s troops across the border into southern France, where the reception there was far from friendly. People were herded into a concentration camp in Argeles, from where she helped rescue a small group of intellectuals, all the time filing copy for the Manchester Guardian. Then as the lights went out all over Europe in September 1939 she escaped (as did many others, with the help of Varian Fry) to the safety of Latin America.

Her first refuge was in Santiago, Chile, then she moved on to Mexico (where Leon Trotsky found brief asylum). She dallied with relatives in the Bahamas for the next two years, then in 1941 made her way back to London, living in a borrowed flat in one of the Inns of Court. During the remainder of the war she worked in various secretarial jobs, translating and writing reports. She also produced another anthology – Poems for France. As soon as Paris was liberated in 1944 she went back to live there.

Her house at Reanville had been vandalised and looted, not only by the occupying Germans but by local villagers who resented her bohemian lifestyle. She applied for compensation but got nothing. Eventually the property was sold and she bought an old farmhouse in Souillac in the Dordogne.

Still travelling restlessly around Europe (a tax exile, only allowed three months maximum residency in Britain) she produced in the early 1950s a book on her friend Norman Douglas (omitting his paedophilia) and received news of the death in Washington of Henry Crowder. She also produced a memoir of George Moore, but failed in an attempt to generate the autobiography which everyone wanted her to write.

As she reached her sixties her health got worse, as did her public behaviour. She got into fights, was in trouble with the police in England and France, and was finally expelled from Spain after being jailed for several days in Valencia.

Back in England, she was arrested for soliciting and being drunk and disorderly in the King’s Road, remanded in Holloway for a medical report, and certified insane. She remained in a sanitorium for several months, then was released to stay with friends. As soon as her passport was returned she went back to the Dordogne.

The last years of her life were divided between the house which was deteriorating with neglect and the homes of loyal but exasperated friends in the South of France. Predictably, she argued with them and suddenly left for Paris.

There, weighing only twenty-six kilos, pumped full of drugs (after a broken leg) and fuelled by her favourite tipples of rum and cheap red wine, she fell into another seizure of near-insanity, was certified by a local doctor, and died three days later under an oxygen tent in a public ward. She was cremated and her ashes were placed in Pere Lachaise Cemetery.

© Roy Johnson 2018

Nancy Cunard – Buy the book at Amazon UK

Nancy Cunard – Buy the book at Amazon US


Ann Chisholm, Nancy Cunard, London: Penguin, 1979, pp.480, ISBN: 014005572X


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Filed Under: Biography Tagged With: Cultural history, Literary studies, Modernism, Nancy Cunard

Never Let Me Go

December 17, 2014 by Roy Johnson

tutorial, commentary, study resources, and plot summary,

Never Let Me Go (2005) is the sixth novel by Kazuo Ishiguro, the Anglo-Japanese writer, who was shortlisted for the Booker Prize which he had won previously in 1989 for The Remains of the Day. The novel was adapted for the cinema in 2010 by Mark Romanek for a film with the same title starring Keira Knightly.

Never Let Me Go

Kazuo Ishiguro


Never Let Me Go – critical comment

Biography

Kazuo Ishiguro was born in Nagasaki in Japan in 1954. His father was an oceanographer who moved to live in Britain in 1960. Kazuo attended grammar school in Surrey, then studied English and Philosophy at the University of Kent in Canterbury. After a gap year touring America and Canada, he entered the creative writing programme at the University of East Anglia, where his tutors included Malcolm Bradbury and Angela Carter. He graduated with an MA in 1980 and became a British citizen in 1982. He has written novels, screenplays, stories, and the lyrics to songs for the Anglo-American jazz singer Stacey Kent. He has won several literary awards, including the Winifred Holtby Memorial Prize for his first novel A Pale View of Hills (1982), the Whitbread Prize for An Artist of the Floating World (1986), and the Booker Prize for The Remains of the Day (1989). He was awarded the Nobel Prize for literature in 2017.

Dystopia

A dystopia is the opposite of a utopian view of the world. Utopian narratives imagine successful, harmonious, and happy worlds, whereas a dystopian world emphasises all its worst elements and even exaggerates them as a form of warning about what we might become if these elements are not held in check.

Because these dysfunctional worlds do not exist but are creations of the imagination, there is a great deal of overlap with the imaginary worlds of science-fiction.

Utopias in literature include Thomas More’s Utopia (1516), Sir Francis Bacon’s New Atlantis (1627), and H.G.Wells’ A Modern Utopia (1905). Examples of dystopias include Yevgeny Zamyatin’s We (1927), George Orwell’s Nineteen Eighty-Four (1947 – which was based on Zamyatin’s novel), and Aldous Huxley’s Brave New World (1932).

Some novels may even combine elements of both Utopia and Dystopia to create satires of society – such as Jonathan Swift’s Gulliver’s Travels (1726) and Samuel Butler’s Erewhon (1872).

Narrative voice

One of the main problems in a novel of this length is the quality of the narrative voice. Ishiguro takes the naturalistic rendering of his protagonist’s first person account to almost unbearable lengths of tedium. Her narrative is packed with repetition, cliché, dated teenage slang, and manufactured uncertainties.

She talks in what one reviewer called “a sort of social worker’s drone, all professional cant and washed-out idiom (‘When it came down to it … Anyway, I’m not making any big claims for myself.’)

“While we’re on the subject … Looking back now … And then there was the time that … But that’s not really what I want to talk about just now … When it came down to it … I don’t know how it was where you were … Anyway … Now to be fair … As it happened … What with one thing and another … “

There are too many events and incidents that have little structural significance, and that are inflated beyond any sense of their intrinsic interest. In the later part of the book for instance there is a protracted excursion to Cromer in Norfolk which promises to reveal something significant about the ‘possibles’ – people from whom the characters might have been cloned – but this comes to nothing when they decide they have made a mistake.

Much is made of a cassette tape containing Kathy’s favourite song which gives the novel its title – Never Let Me Go – then its unexplained disappearance, followed by a search for its replacement. But none of this, including the title, is linked in any significant way to the central issues of the novel.

Similarly, there is an outing to visit an abandoned boat on the marshes, the type of incident which in most stories would be at least metaphoric, if not symbolic of something important within the meaning of the novel as a whole. But the tediously extended episode adds nothing to what we already know.

Conversely, there is an attempt to give significance to what are no more than teenage arguments, changes in allegiance, and feelings of isolation. But these fail to be convincing, because they remain no more than adolescent trivia which contribute nothing to any narrative interest. But this issue does raise another point.

It’s possible that Never Let Me Go was produced quite deliberately as a genre novel for the teenage market, but Ishiguro has done himself no favours by presenting his story in such a banal and repetitive narrative voice, and packing the story with largely inconsequential behaviour – without exploring any of the ramifications of the scientific conceit on which the novel is based.

Science-fiction?

We now know that advances in microbiology and DNA manipulation now permit animal matter to be cloned. In this sense the novel is not very ‘futuristic’. But the idea of cloning human beings specifically (and at risk of their own death) to provide body parts to keep other people alive – is a sinister form of modern human sacrifice.

The problem is that Ishiguro simply does not examine the social or scientific rationale for this practice. Nor does he explain how individual humans can be clone-created to have normally functioning body parts (apart from reproductive organs) yet be so singularly lacking in will, imagination, and resistance.

The main problem is that whilst it is possible to suspend disbelief and accept the authoritarianism behind cloning and genetic engineering. there is no plausible reason offered why the characters should be so totally passive and accepting of their planned destinies.

These are characters who watch television, drive cars, have lots of sex, and read Daniel Deronda, yet who show no enterprise when they are free to walk away at any time from their planned organ donations. The organisation that has created them has even gone out of business by the end of the novel, but at no point do any of them think to regard themselves as autonomous beings.


Never Let Me Go – study resources

Never Let Me Go Never Let Me Go – Faber paperback – Amazon UK

Never Let Me Go Never Let Me Go – Faber paperback – Amazon US

Never Let Me Go The Novels of Kazuo Ishiguro – paperback – Amazon UK

Never Let Me Go Kazuo Ishiguro: A Routledge Guide – paperback – Amazon UK

Never Let Me Go Conversations with Kazuo Ishiguro – paperback – Amazon UK

Never Let Me Go GCSE Revision Notes – page by page analysis – Amazon UK


Never Let Me Go – plot summary

Chapter 1. Kathy H introduces herself as a ‘carer’, and recounts her early years at what seems to be an authoritarian boarding school called Hailsham and her concern for an outsider youth Tommy.

Chapter 2. She describes daily life at the school and further instances of teasing and bullying on Tommy, who retreats into a childlike state.

Chapter 3. Tommy tells Kathy about a conversation with sporty and butch ‘guardian’ Miss Lucy who sympathises with his lack of creative ability. Kathy recounts how the controller of the school, called Madame, is frightened of contact with the students, even though she appropriates their artworks for her private ‘gallery’.

Chapter 4. The students are given tokens in exchange for their work which they can exchange at occasional ‘Sales’. They all appear to have problems with missing memories. Kathy’s friend Ruth makes her into a ‘secret guard’ of Miss Geraldine, a favourite guardian.

Chapter 5. Surrounded by menacing woods at the school, the secret guards plot to kidnap Miss Geraldine. There is rivalry between Kathy and Ruth about favouritism.

Chapter 6. Rivalries and ‘secret knowledge’ continue to cause tensions. Norfolk is regarded as a ‘lost corner’ of Britain. Smoking is forbidden at the school because the students must preserve their ‘special’ natures. Kathy plays her tape of Never Let Me Go. She knows that she and all the other students are infertile. The tape goes missing, but Ruth presents her with an alternative.

Chapter 7. Miss Lucy reveals to them that they have been bred as DNA clones and organ donors. It appears that their body parts are detachable.

Chapter 8. Kathy reports on sexual activity amongst the students, including her friends Tommy and Ruth, and her own preparations to have sex with Harry.

Chapter 9. Miss Lucy retracts what she has previously told Tommy about creativity not being important – and then suddenly disappears when she is expelled from the school.

Part Two

Chapter 10. After leaving Hailsham, Kathy transfers to the Cottages with Tommy, Ruth and others. They imitate each other’s gestures, then Kathy and Ruth quarrel.

Chapter 11. Kathy looks back on and revises her memories of conversations with Ruth. She then starts having casual sex; Ruth gets rid of her collection of memorabilia; and Tommy catches Kathy looking at porn magazines.

Chapter 12. Veterans at the Cottages, Chrissie and Rodney report back from a trip to Cromer where they have seen a possible original for Ruth, who then begins to fantasise about her ‘dream future’ working in a modern office.

Chapter 13. A month later five of them go on an excursion to Cromer where the two veterans Chrissie and Rodney ask the rest about the rules for requesting a ‘deferral’ of two or three years before they become organ donors. Nobody knows the rules.

Chapter 14. They locate Ruth’s ‘possible’ in an office on the High Street, then see her again later. When they follow her to an art gallery they all realise she is not a possible, then argue about going to visit Martin, another ex-veteran.

Chapter 15. Tommy and Kathy go in search of her lost tape and find a copy. He tells her his theory that the Madame’s gallery is a repository of the students’ souls which will enable the guardians to make choices for deferrals. He also thinks Kathy might have been looking at the porn magazines in search of her ‘possible’ – which she thinks could explain her uncontrollable sexual urges.

Chapter 16. Tommy shows Kathy his miniature drawings of imaginary animals, then discusses his gallery theory with Ruth and Kathy. Ruth claims that they find his drawings laughable, which creates unpleasant tensions in relations between the three friends.

Chapter 17. Kathy tries to resolve these tensions by talking to Ruth. During the conversation Ruth suggests that Tommy disapproves of Kathy’s sexual promiscuity. Shortly afterwards Kathy decides to leave the Cottages and start her training.

Part Three

Chapter 18. Some time later Kathy is working independently as a carer. She bumps into Laura, an old friend from the Cottages. They discuss Ruth, and Laura suggests that Kathy become Ruth’s carer. It transpires that Hailsham has closed, which makes Kathy feel cut off from her former fellow students. She does become Ruth’s carer, but there are still tensions between them. Ruth persuades Kathy to take her to see a boat – which is an opportunity or an excuse to see Tommy.

Chapter 19. Ruth and Kathy visit Tommy at the Kingsfield centre and take him to see the boat. They discuss their donors, some of whom have ‘completed’ (died) during the operation. They see an advertising poster which recalls the trip to Norfolk, then Ruth reveals that she has had sex with others besides Tommy. She wants Kathy and Tommy to be a couple and apply for a deferral, and also suggests that Kathy become Tommy’s carer. She dies shortly afterwards during her second donation.

Chapter 20. Kathy becomes Tommy’s carer and starts having sex with him. He starts drawing his animal pictures again, but not so successfully. Kathy has located the Madame, whom they plan to visit to request a deferral.

Chapter 21. They visit the Madame where Tommy explains his theory of the gallery. The Madame understands but does not admit to its validity. However, she produces Miss Emily, the head guardian, in a wheelchair.

Chapter 22. Miss Emily reveals to them that the idea of deferrals is merely a false rumour she has been unable to extinguish. She claims that the art works were taken to prove to doubters that the students did have souls, and were being well educated. She explains the post-war history of the ‘movement’ which has now been brought to a halt because of a scandal which has resulted in a lack of sponsors. The Madame explains her sympathies for their plight as donors. On their way back, Tommy gets out of the car and goes into a rage in a field.

Chapter 23. Tommy is preparing for his fourth donation when he suggests to Kathy that she should no longer be his carer – and he dies shortly afterwards, leaving her to face an uncertain future.


Kazuo Ishiguro – other novels

Never Let Me Go A Pale View of Hills – Amazon UK

Never Let Me Go When We Were Orphans – Amazon UK

Never Let Me Go An Artist of the Floating World – Amazon UK

Never Let Me Go The Unconsoled – Amazon UK

Never Let Me Go The Buried Giant – Amazon UK

© Roy Johnson 2014


Filed Under: 20C Literature Tagged With: English literature, Kazuo Ishiguro, Literary studies, The novel

Nicholas Nickleby

August 26, 2014 by Roy Johnson

tutorial, commentary, study resources, plot, and web links

Nicholas Nickleby first appeared as a serial novel in nineteen monthly instalments between 1838 and 1839, published by Chapman and Hall. It was Charles Dickens’ third novel, but he wrote it at the same time as he was completing his second novel, Oliver Twist. He had struck a best-selling formula with his first novel – The Pickwick Papers – an episodic narrative issued in monthly parts, and he stuck to this publishing format, selling 50,000 copies a month of each instalment, which cost one shilling per issue and two shillings for the final double issue.

Nicholas Nickleby

a monthly instalment

It is worth noting, in terms of the history of the novel and literature as a cultural medium, that Charles Dickens’ name does not appear on the cover – only his nom de plume, ‘Boz’. And he is not the author but the editor of these recorded adventures – almost as if their existence were due to some other person or source.

In addition, each instalment of the serial was illustrated – in this case by his favourite artist, Hablot Knight Browne, who was also given a pseudonym of ‘Phiz’. The convention of illustrating novels persisted until the end of the nineteenth century and then disappeared in the early twentieth.


Nicholas Nickleby – critical commentary

The picaresque novel

Dickens greatly admired the novelists of the eighteenth century – Henry Fielding, Laurence Sterne, and Tobias Smollett – all of whom had inherited the earlier tradition of the novel as a picaresque narrative. That is, the focus of attention in a novel was on an individual who engaged with society and embarked on a series of adventures. In its original form the picaro was usually a low-life character, and this is perhaps reflected in Fielding’s hero (in Tom Jones) being a foundling, or in Smollett’s heroes Roderick Random and Peregrine Pickle being ‘groundlings’ or ordinary characters.

The traditional picaresque novel featured a one central character (Lazarillo de Tormes and Tom Jones for example), but Dickens gives this convention a creative twist by having essentially two central characters battling with the vicissitudes of society. Nicholas and his sister Kate are both young and vulnerable following their father’s death. They are saddled with a mother who is worse than useless as a moral and spiritual guide, and they are surrounded by villainous characters who wish to do them harm.

Nicholas first has to battle with the psychopathic schoolmaster Wackford Squeers and his equally brutal family. Then he is also thwarted by his uncle, Ralph Nickleby

Ralph Nickleby is also the spider at the centre of the corrupt web of upper-class rakes trying to ensnare Kate Nickleby. Even though it is Sir Willoughby Hawk who is her main assailant, he is a client of Ralph’s and operates under his roof. Kate quite rightly complains that the very person who should be protecting her honour (her uncle) is putting her at risk by exposing her to moral danger and actually using her as live bait to ensnare the rich but simple Lord Frederick Verisopht.

The elements of the picaresque novel are normally movement – the journey – encounters with unknown individuals who may be rogues desperadoes, or comic characters. This was the novel as sheer entertainment, and Dickens happily embraced the genre. As well as featuring the hero’s mixed fortunes in society, encounters with rogues and villains, there were also a lot of knockabout comic and farcical scenes, plus no shortage of real physical violence – much in evidence here in the scenes at Dotheboys Hall.

There is very little notion of a tightly plotted story. The essence of the picaresque is a loose, episodic tale where one event follows another. Nevertheless, Dickens inserts elements which typify his later command of the tightly plotted serial novel, with a structure unified by overarching metaphors and symbols.

He introduces mysterious and dramatically interesting details which act as a thread through the episodes of the story. For instance, the curious figure of Newman Noggs who works for but despises Ralph Nickleby. He passes a message to Nicholas as he embarks at the start of the novel on his journey to Yorkshire and Dotheboys Hall. This creates a link between them which enables Nicholas to survive the vicissitudes of his exile and even his return under an assumed name (Johnson).

The negative parent figure

We know that Dickens was very concerned about the ill-treatment of children – despite the fact that he neglected his own. His novels are full of neglected and poor youngsters, children forced into work and crime, and pathetic under-aged beings who suffer and die young.

The other side of this coin is the parent figure who neglects those under its supervision and care. Nicholas Nickleby has a wide range of characters who are what might be called the negative parent figure – people who are responsible for people younger than themselves who neglect their welfare and in some cases actively seek to undermine it.

First in order of appearance of these figures is Wackford Squeers, the sadistic headmaster of Dotheboys Hall, who acts in loco parentis to his pupils. Squeers is motivated entirely by greed and self-gratification. He actually robs the pupils under his care; he beats them; more or less starves them; and actively stands in the way of their securing any possible outside help. He is what we would now classify as a sociopath or even a psychopath

Mr Bray is one of the many miserly characters in the novel, but his outstanding characteristic is that of an emotionally tyrannical father figure. He has a daughter (Madeleine) who is slavishly devoted to him, but rather than appreciate her efforts, he abuses her unmercifully and turns her life into a living misery. Rather like Squeers, he is entirely self-regarding and even sneers at the very sources of income which keep him alive (the ‘purchases’ made by the Cheerybles).

Mrs Nickleby is a great comic figure in the novel – a social snob even when her family has become penniless, and a garrulous featherbrain who fails to understand anything that is going on. She doesn’t actually make her children suffer, but she is certainly derelict in his role as a parent, and it is interesting to note that she shares self-regard and a solipsistic view of the world with the other negative parent figures in the novel.

Ralph Nickleby turns out to be the worst parent figure of all. He is dominated by an almost pathological worship of money. He marries for financial advantage, and when his wife leaves him, he gives away his son – who becomes the abandoned Smike at Dotheboys Hall. The conditions there – in addition to his consumption – contribute to his early death.

Money, inheritance, and class

The origins of the entire narrative lie in a version of the Biblical parable of the talents. At his death old Nicholas Nickleby divides his money between two sons, Ralph and John. One (Ralph) becomes a money lender (a usurer) and makes more money: The other (John) invests his portion of the inheritance in the stock market and loses everything.

This accounts for the tensions within young Nicholas Nickleby’s family and his personal life. He has been raised and educated to be a ‘gentleman’, but he suddenly finds himself with no money and a mother and sister for whom he is responsible.

Nicholas is forced to work as an almost unpaid assistant schoolteacher, whilst his mother clings to comically misplaced snobbish standards as if she were still upper class. Kate too is forced into low-paid work, and can only hope for a suitable marriage to save her from her plight.

But any marriage should be on reasonably equal terms. This explains the dramatically stretched issue of conscience and scruples when Nicholas insists that Kate should not encourage Frank Cheeryble as a suitor – because Frank will inherit from his twin uncles, whereas Kate has nothing to inherit.

Nicholas puts an equally severe limit on himself when he asks for Madeleine to be taken away from his mother’s house. He is in love with her, but he realises that the Cheerybles will look after her financially, whereas he has no inheritance to offer her. He belongs (albeit temporarily) to a lower social class. However, these problems are resolved by the fairy-tale generosity of the Cheerybles.


Nicholas Nickleby – study resources

Nicholas Nickleby Nicholas Nickleby – Oxford World’s Classics – Amazon UK

Nicholas Nickleby Nicholas Nickleby – Oxford World’s Classics – Amazon US

Nicholas Nickleby Nicholas Nickleby – Wordsworth Classics – Amazon UK

Nicholas Nickleby Nicholas Nickleby – Wordsworth Classics – Amazon US

Nicholas Nickleby Charles Dickens – biographical notes

Nicholas Nickleby Nicholas Nickleby – eBook at Project Gutenberg

Nicholas Nickleby Nicholas Nickleby – audioBook at LibriVox

Nicholas Nickleby Nicholas Nickleby – Hablot Knight Browne (Phiz) illustrations

Red button The Cambridge Companion to Charles Dickens – Amazon UK

Great Expectations Nicholas Nickleby – Audio book (unabridged) – Amazon UK

Red button Charles Dickens’ London – interactive map

Red button Oxford Reader’s Companion to Charles Dickens – Amazon UK


Nicholas Nickleby – plot summary

Chapter I.   Old Mr Nickleby leaves money to his two sons, Ralph and Nicholas. Ralph invests his inheritance and becomes a successful money-lender. Nicholas speculates with his money on the stock exchange and loses everything.

Chapter II.   Ralph and fellow entrepreneurs hold a public meeting to promote interest in a parliamentary bill to establish a muffin-making business, which will in fact be a monopoly.

Chapter III.   Ralph receives news of the death of his brother. He visits his sister in law and her two young children and, completely lacking in generosity and compassion, arranges to ‘find a job’ for young Nicholas.

Chapter IV.   Wackford Squeers enrolls pupils for his school at Dotheboys Hall in Yorkshire, and Ralph persuades him to take on Nicholas as an assistant schoolmaster.

Chapter V.   Nicholas sets off for Yorkshire. Before departure Newman Noggs slips him a mysterious letter. Squeers feeds himself liberally, but completely neglects his pupils. The coach overturns in bad weather.

Chapter VI.   The travellers recover at a nearby inn, where they regale each other with tales of ‘The Five Sisters of York’ and ‘The Baron of Grogzwig’.

Chapter VII.   Nicholas arrives at Dotheboys Hall, meets the abandoned boy Smike, and is given a frugal supper by Mrs Squeers. He reads the mysterious letter from Noggs, offering him sympathy and accommodation in London if ever he should need it.

Chapter VIII.   Squeers runs the school in a brutal and exploitative manner. All the pupils are broken and miserable. Nicholas is ashamed of being there. Smike has no friends and no hope.

Chapter IX.   The plain Fanny Squeers decides to fall in love with Nicholas, then announces to her friend Matilda that she is ‘almost’ engaged to him. The two young women entertain their beaux to tea, then fall out in rivalry with each other.

Chapter X.   Miss Le Crevey paints a miniature portrait of Kate Nickleby. Ralph Nickleby finds Kate a questionable job as a dressmaker with Madam Mantalini and moves her mother into an empty house he owns.

Chapter XI.   Kate and her mother leave Miss Le Crevey and are taken by Noggs to live in an old run down house in a poor party of the City.

Chapter XII.   Fanny and Matilda repair their disagreement of the day before. Matilda is to be married in three weeks. They meet Nicholas and claim he is in love with Fanny. When he refutes this claim, Fanny vows vengeance on Nicholas, who comforts the persecuted Smike.


Nicholas Nickleby

Nicholas starts for Yorkshire


Chapter XIII.   Smike suddenly runs off from the school, but is hunted down and recaptured. When Squeers starts to administer a public flogging before the assembled boys, Nicholas intervenes and beats Squeers. Nicholas leaves the school to go back to London, and is followed by Smike.

Chapter XIV.   A wedding anniversary party is under way in the rented rooms of the Keriwigs. nTheir neighbour Noggs is in attendance, despatching punch, when Nicholas and Smike arrive.

Chapter XV.   The Squeers have sent a defamatory letter to Ralph Nickleby, denouncing Nicholas. Noggs urges patience. Meanwhile Lillyvick lords it over the party and its members. When the babysitter’s hair catches fire, Nicholas rescues the baby and is admired by everybody as a gentleman and an aristocrat

Chapter XVI.   Next day Nicholas goes in search of a job, but turns down the position of secretary to an unscrupulous member of parliament. Instead, Noggs arranges for him to become private tutor to the Kenwig girls, under the name of Johnson.

Chapter XVII.   Kate starts work at Mantalini’s where she feels demeaned by the nature of her position. The Mantalinis are semi-comic buffoons, somehow connected with Ralph Nickleby.

Chapter XVIII.   Miss Knag has an almost Sapphic crush on Kate, who makes a good impression on visiting customers. But when Kate is chosen to display bonnets instead of Miss Knag, she turns hysterically against her.

Chapter XIX.   Kate in invited to dinner at her uncle’s house. But the guests are all-male boors, and she has been used as bait to lure a rich young lord. One drunken guest tries to attack her. Ralph Nickleby feels the first twinges of conscience regarding his niece.

Chapter XX.   Ralph confronts Kate and her mother with Nicholas’s ‘misdeeds’ (reported by Squeers). Nicholas stands up to Ralph and maintains his innocence – but he is powerless to do anything more. Everything is against him – but he sticks by Smike.

Chapter XXI.   The Mantalinis are bankrupted (by Ralph) and Kate loses her job. She becomes a companion to Mrs Witterly, who suffers from ‘an excess of soul’.

Chapter XXII.   Nicholas decides to leave London. He and Smike walk to Portsmouth, but before they get there Nicholas meets the theatrical manager Vincent Crummles, and in desperation is persuaded to join his troupe.

Chapter XXIII.   When they reach Portsmouth Crummles introduces Nicholas to his band of itinerant ‘actors’, including the ‘infant phenomenon’. Crummles gives Nicholas a French text to translate and plagiarize for performance in a few day’s time.

Chapter XXIV.   Nicholas writes the play for Miss Snevellicci’s benefit performance (one of many) – then has to go out touting for subscriptions.The play is put on, and despite its ridiculous and corny plot is a big success.


Nicholas Nickleby

Mr and Mrs Mantalini in Ralph Nickleby’s Office


Chapter XXV.   Mr Lillyvick the water tax collector arrives to tell Nicholas of his impending marriage to Henrietta Petowker, who is joining the troupe. A comic wedding scene ensues. Nicholas teaches Smike his simple part in Romeo and Juliet.

Chapter XXVI.   Hawk and Verisopht conspire to pursue the pretty Kate. Hawk wishes to trap Verisopht financially. They visit Ralph Nickleby, who wants to entrap them both. Mrs Nickel by arrives and naively hopes that Kate will marry one of these corrupt rakes. Ralph’s conscience pricks him for a second time.

Chapter XXVII.   Mrs Nickleby is fascinated with the idea of upper-class connections. She is visited by Pyke and Pluck who flatter her and invite her to the theatre on behalf of Hawk, who oppresses Kate again. They are also introduced to Mrs Witterly, who is also flattered by the attention of these rakes.

Chapter XXVIII.   Hawk and his entourage become regular visitors chez Mrs Witterly – and continue to oppress Kate. She appeals to her uncle Ralph for help – but he refuses to do anything, and even though he has encouraged their behaviour, he disapproves of it. So does Noggs, who disapproves of his employer Ralph.

Chapter XXIX.   Lenville is jealous of Nicolas’s success in the acting troupe. He offers a challenge, but Nicholas knocks him down. Nicholas communicates with Noggs via post, who replies that Kate might need his protection in the future.

Chapter XXX.   Nicholas prepare to leave the acting company. He goes to dinner, where Mr Snevellicci gets drunks and kisses all the women. An urgent note from Noggs arrives, so Nicholas and Smike leave for London by the morning coach.

Chapter XXXI.   Noggs negotiates with Miss La Crevey to delay telling Nicholas about Kate’s problems on his imminent arrival in ~London – to forestall rash actions.

Chapter XXXII.   Nicholas reaches London and immediately goes in search of Noggs, who has deliberately gone out as part of his plan. Nicholas wanders into a hotel and overhears Hawk maligning Kate. He challenges him, but Hawk refuses to reveal his identity. They fight in the street, and Hawk sustains injuries when his cab overturns.

Chapter XXXIII.   Nicholas removes Kate from Mrs Witterly’s , his mother from her lodgings, and writes to Ralph denouncing him as a villain.

Chapter XXXIV.   Ralph is visited by Mr Mantalini who needs money. Mrs Mantalini argues with her husband., during which time Ralph learns about the coach accident. Mr Squeers arrives, and Ralph quizzes him about Smike’s identity and origins.

Chapter XXXV.   Mrs Nickleby and Kate meet Smike, then Nicholas goes in search of a job, where he meets the improbably philanthropic Mr Cheeryble, who provides him with a well-paid job, a home, and gifts of furniture.

Chapter XXXVI.   Mrs Kenwigs has a baby. The family all congratulate themselves on their future prospects, but when Nicholas arrives with the news that their ‘benefactor’ Lillyvick has married Henrietta Petowker in Portsmouth, they go to pieces ,thinking that their ‘expectations’ have been ruined.


Nicholas Nickleby

Miss Nickleby Introduced to her Uncle’s Friends


Chapter XXXVII.   Nicholas makes a success of his introduction to working at Cheeryble’s, and old Tim Linkinwater’s birthday is celebrated in the office with lots of toasting and good cheer. Mrs Nickleby confides in Nicholas that she is being courted by their next-door neighbour by throwing cucumbers over the wall.

Chapter XXXVIII.   Miss La Crevey thinks that Smike is changing significantly. Ralph Nickleby visits Hawk who is still recovering from his injuries in the coach crash. Lord Verisopht is amongst the rakes but he thinks that Nicholas has acted honourably in defending his sister’s reputation. On his way back home, Smike is captured by Squeers and held prisoner.

Chapter XXXIX.   John Browdie arrives in London with his new bride Matilda Price and her friend Fanny Squeers.. They meet Mr Squeers at the Saracen’s Head That night Browdie helps Smike to escape from Squeers’ clutches.

Chapter XXXX.   Nicholas falls in love with a girl he saw very briefly in the Registry Office. He commissions Noggs to find out who she is and where she lives. He does this and actually arranges a meeting with her late at night.But when they get there it is the wrong girl.

Chapter XXXXI.   The eccentric (mad) man next door continues to pay court to Mrs Nickleby – who is flattered by his attentions, even though she feigns to reject them.

Chapter XXXXII.   Nicholas visits John Browdie at the Saracen’s Head. Whilst they are discussing Fanny Squeers’ lack of marriage prospects, she suddenly appears. There is a comic argument between Fanny and Matilda, then between Squeers and Browdie

Chapter XXXXIII.   Following the altercation at the Saracen’s Head, Nicholas meets Frank Cheeryble, with whom he feels a close bond. Yet he immediately wonders if he is a rival for the mysterious and beautiful girl – to whom he has never spoken. Frank and one of his uncles visit the Nickleby home the following Sunday, and everybody has a good time.

Chapter XXXXIV.   Ralph Nickleby is out collecting debts when he is tracked down by Mr Booker, a former business associate who has been in jail. Booker threatens to reveal compromising information, but Ralph calls his bluff and refuses to help him.There is a fake suicide by Mr Mantalini, then Ralph goes off withSqueers and a stranger, with Noggs in pursuit.

Chapter XXXXV.   Whilst John and Matilda Browdie are at the Nickleby cottage they are interrupted by Ralph Nickleby, Squeers, and Mr Snawley, who claims to be Smike’s estranged father. THey wish to capture Smike and take him back to Yorkshire, but Smike does not want to go.. After they throw out Squeers, Ralph leaves, threatening legal action against Nicholas.

Chapter XXXXVI.   Nicholas relates these incidents to the Cheerybles, who tell him a similar story about the beautiful girl who has devoted herself to an unloving father who is a wastrel. They want to use Nicholas as a means of supplying money to her. This enables him to meet Madeleine Bray and her thankless father.

Chapter XXXXVII.   Ralph Nickleby arrives at his office with Arthur Gride, who relates his plan to marry Madeleine Bray so as to acquire a property she will inherit. Ralph forces him to sign an agreement between them – all overheard by Noggs. They visit Bray and Madeleine and put their plan into motion, hoping that the greedy and heartless Bray will persuade Madeleine to accept.

Chapter XXXXVIII.   Nicholas is upset regarding his role in the supply of money to Madeleine Bray. He then meets up with the Crummles theatrical troupe giving their farewell performances before going to America. There is another lengthy dinner with speeches.


Nicholas Nickleby

Mr Linkinwater Intimates his Approval of Nicholas


Chapter XLIX.   In the Nickleby household Smike is suffering from consumption, but hides it from everyone. The mad old man from next door comes down the chimney in pursuit of Mrs Nickleby, but then changes to Miss La Crevey when he sees her.

Chapter L.   Sir Mulberry Hawk appears at Hampton Races after recuperating abroad. He quarrels with Lord Verisopht, who has a guilty conscience regarding his part in the plot against Kate. That night, after gambling and drinking, they fight a duel, in which Lord Frederick is killed.

Chapter LI.   Arthur Gride selects his clothes for the marriage to Madeleine Bray. Noggs has been approached by the mysteriousMr Brooker, and he tells Nicholas about Gride’s plan to marry Madeleine Bray.

Chapter LII.   Noggs takes Moreleen Kenwig to the barber, where they meet Lillyvick. His wife Henrietta has eloped with a solider, so he is received at the Kenwigs where he reverses the terms of his will in their favour, following much sycophancy on both sides.

Chapter LIII.   Nicholas appeals directly to Madeleine to call off or at least delay the marriage. He explains the plot between her father and Gride. But she refuses: she is sacrificing herself to gain the money promised to support her father. Nicholas then goes to Gride and offers to buy him off, but Gride refuses.

Chapter LIV.   Ralph and Arthur Gride arrive at the Bray house on the morning of the wedding, but suddenly Nicholas and Kate arrive to confront them and take Madeleine away. There is a stand off, and then Bray drops dead upstairs. Nicholas takes Madeleine away telling Ralph that his business has collapsed.

Chapter LV.   Mrs Nickleby is convinced that Frank Cheeryble is in love with Kate, who is looking after Madeleine as she recovers. Mrs Nickleby asks Nicholas to encourage the relationship, but he warns against it on the grounds that they are poor, whereas Frank has ‘expectations’ from his uncles. Nicholas is then commissioned to take the ailing Smike to Devon for convalescence.

Chapter LVI.   Ralph has lost £10,000 in a bank crash. Returning to Gribe’s house, they discover that old Peg has stolen incriminating papers and absconded. Ralph devises an elaborate plan of revenge (on Nicholas and just about everybody else) which includes the Snawley and Smike relationship, Madeleine’s inheritance, and recovery of Gride’s stolen documents. He enlists the services of Squeers to do the dirty work and carefully excludes all mention of himself from the arrangements.

Chapter LVII.   Ralph has located old Peg and Squeers visits her in a drunken state. He persuades her to show him the documents – but whilst they are inspecting them Frank Cheeryble and Noggs sneak into the room and knock Squeers out.

Chapter LVIII.   Nicholas takes Smike to Devon where they share a bucolic and tranquil existence. Smike has a fleeting vision of the man who first took him to Dotheboys Hall, reveals that he has been in love with Kate , and dies.

Chapter LIX.   An anxious Ralph is visited by Charles Cheeryble who wishes to warn him of something – but he dismisses him. Ralph goes off in search Noggs, Squeers, and Snawley, but none of them are to be found. So he goes to Cheerybles where he is confronted by Noggs who has unravelled the whole pilot. They offer him an honourable escape, but he scorns it.

Chapter LX.   Ralph tracks down Squeers at the police station where he is being held on remand. There are signs that even Squeers is turning against him. Then he returns to Cheerybles, where they produce Ralph’s former employee Mr Brooker, who reveals that Smike was Ralph’s son. Ralph suddenly disappears.

Chapter LXI.   Nicholas returns from Devon and learns that Kate has refused an offer of marriage from Frank Cheeryble on grounds of differences in their social positions. Nicholas vows to do the same regarding Madeleine, and asks the Cheerybles to remove her from his mother’s house.

Chapter LXII.   Ralph retreats to his house, followed by a black cloud, and is oppressed by feelings of defeat and the fact that his enemy Nicholas was the person who looked after his own son, Smike. He goes into the attic and hangs himself.

Chapter LXIII.   The Cheerybles summon everyone to a dinner at which the details of Madeleine’s inheritance are made known and the two couples – Frank and Kate, and Nicolas and Madeleine – are united.Then Tim Linkinwater proposes to Miss La Crevey, who accepts, much to Mrs Nickleby’s disgust.

Chapter LXIV.   Nicholas travels to Yorkshire to see his friend John Browdie and brings him up to date with all the news. It is revealed that Squeers has been found guilty and transported for seven years. John Browdie rides over to Dotheboys Hall where the boys revolt against Mrs Squeers and her two offspring. They then all run away.

Conclusion.   Nicholas marries Madeleine on the same day that Frank marries Kate. Nicholas becomes a partner in the firm. Ralph’s money is left un-touched and reverts to the State. Gride escapes punishment, but is then murdered. Hawk lives abroad, but on return is jailed for debt, where he dies.


Mont Blanc pen

Mont Blanc – Charles Dickens special edition


Nicholas Nickleby – principal characters
Old Mr Nickleby Nicholas’s grandfather
Ralph Nickleby his elder son, who becomes a speculator
Nicholas Nickleby his younger son, who loses his money and dies
Mrs Nickleby his widow, a naive and gullible woman
Nicholas Nickleby his son, good-natured and personable (19)
Kate Nickleby Nicholas’s pretty sister
Newman Noggs one-eyed clerk to Ralph Nickleby, ‘a decayed gentleman’
Wackford Squeers an unscrupulous, greedy, and brutal ‘schoolmaster’
Mrs Squeers his equally vulgar and stupid wife
Fanny Squeers their plain daughter (23) who falls for Nicholas
Smike a desperate abandoned boy, unpaid skivvy to Squeers (19)
Miss Le Crevey an artist in portrait miniatures
Matilda Price a pretty friend (and rival) of Fanny Squeers
John Browdie her fiancée, a tall Yorkshire corn-merchant with a Geordie accent
Mr Mantalini (actually Murtle) a ridiculous fop
Mrs Mantalini his (new) wife, a dressmaker
Mr Kenwig a turner in ivory
Mr Lillyvick a pompous collector of water taxes
Mr Crowl a dubious associate of Noggs who wears a red wig
Miss Knag garrulous and hysterical shop manager at Mantalinis
Mortimer Knag her brother, a gloomy bookseller and novelist, former admirer of Mrs Mantalini
Mrs Julia Witterly a social climbing hypochondriac who employs Kate as a companion
Henrietta Petowker marries Lillyvick, then leaves him for another man
Sir Mulberry Hawk a lecherous nobleman who pursues Kate
Lord Frederick Verisopht a simple dupe of Hawk, who kills him in a duel
The Cheerybles twin brothers and philanthropists
Frank Cheeryble their nephew, who falls in love with Kate
Timothy Linkinwater their chief clerk, who marries Miss La Crevey
Mr Walter Bray a selfish and dying miser
Madeleine Bray his beautiful and devoted daughter
Arthur Gride an old, greedy, and corrupt miser who tries to marry Madeleine
Peg Sliderskew his old and ugly housekeeper
Mr Brooker an ex-convict and formerly Ralph’s clerk

Further reading

Biography

Red button Peter Ackroyd, Dickens, London: Mandarin, 1991.

Red button John Forster, The Life of Charles Dickens, Forgotten Books, 2009.

Red button Edgar Johnson, Charles Dickens: His Tragedy and Triumph, Little Brown, 1952.

Red button Fred Kaplan, Dickens: A Biography, Johns Hopkins University Press, 1998.

Red button Frederick G. Kitton, The Life of Charles Dickens: His Life, Writings and Personality, Lexden Publishing Limited, 2004.

Red button Michael Slater, Charles Dickens, Yale University Press, 2009.

Nicholas Nickleby

Red button Bernard Bergonzi, ‘Nicholas Nickleby’, Dickens and the Twentieth Century, ed. John Gross and Gabriel Pearson, London: Routledge, 1962

Red button John Bowen, ‘Performing Business, Training Ghosts: Transcending Nickleby, ELH 63, 1996.

Red button V.C. Clinton-Baddeley, ‘Snevellicci’, Dickensian 57, 1961

Red button Phillip Collins , Dickens and Education, London: Macmillan, 1963

Red button Norman Russell, ‘Nicholas Nickleby and the Commercial Crisis of 1825′, Dickensian 77, 1981.

Red button Paul Schlike, Dickens and Popular Entertainment, London: Allen and Unwin, 1985.

Red button Michael Slater, The Composition and Monthly Publication of Nicholas Nickleby, London: Scholar Press, 1973.

General criticism

Red button G.H. Ford, Dickens and His Readers, Norton, 1965.

Red button P.A.W. Collins, Dickens and Crime, London: Palgrave, 1995.

Red button Philip Collins (ed), Dickens: The Critical Heritage, London: Routledge, 1982.

Red button Andrew Sanders, Authors in Context: Charles Dickens, Oxford University Press, 2009.

Red button Jeremy Tambling, Going Astray: Dickens and London, London: Longman, 2008.

Red button Donald Hawes, Who’s Who in Dickens, London: Routledge, 2001.

 


Other works by Charles Dickens

Charles Dickens Pickwick PapersPickwick Papers (1836-37) was Dickens’ first big success. It was issued in twenty monthly parts and is not so much a novel as a series of loosely linked sketches and changing characters featured in reports to the Pickwick Club. These recount comic excursions to Rochester, Dingley Dell, and Bath; duels and elopements; Christmas festivities; Mr Pickwick inadvertently entering the bedroom of a middle-aged lady at night; and in the end a happy marriage. Much light-hearted fun, and a host of memorable characters.
Charles Dickens Pickwick Papers Buy the book here

 

Charles Dickens Oliver TwistOliver Twist (1837-38) expresses Dickens’ sense of the vulnerability of children. Oliver is a foundling, raised in a workhouse, who escapes suffering by running off to London. There he falls into the hands of a gang of thieves controlled by the infamous Fagin. He is pursued by the sinister figure of Monks who has secret information about him. The plot centres on the twin issues of personal identity and a secret inheritance (which surface again in Great Expectations). Emigration, prison, and violent death punctuate a cascade of dramatic events. This is the early Victorian novel in fine melodramatic form. Recommended for beginners to Dickens.
Charles Dickens Oliver Twist Buy the book here


Charles Dickens – web links

Charles Dickens at Mantex
Biographical notes, book reviews, tutorials and study guides, free eTexts, videos, adaptations for cinema and television, further web links.

Dickens basic information Charles Dickens at Wikipedia
Biography, major works, literary techniques, his influence and legacy, extensive bibliography, and further web links.

Charles Dickens at Gutenberg
A major collection of free eTexts of the major works in a variety of formats.

Dickens on the Web
Major jumpstation including plots and characters from the novels, illustrations, Dickens on film and in the theatre, maps, bibliographies, and links to other Dickens sites.

The Dickens Page
Chronology, eTexts available, maps, filmography, letters, speeches, biographies, criticism, and a hyper-concordance.

Charles Dickens at the Internet Movie Database
Adaptations of the major novels and stories for the cinema and television – in various languages

A Charles Dickens Journal
An old HTML website with detailed year-by-year (and sometimes day-by-day) chronology of events, plus pictures.

Hyper-Concordance to Dickens
Locate any word or phrase in the major works – find that quotation or saying, in its original context.

Dickens at the Victorian Web
Biography, political and social history, themes, settings, book reviews, articles, essays, bibliographies, and related study resources.

Charles Dickens – Gad’s Hill Place
Something of an amateur fan site with ‘fun’ items such as quotes, greetings cards, quizzes, and even a crossword puzzle.

© Roy Johnson 2014


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Night and Day

June 1, 2015 by Roy Johnson

tutorial, commentary, study resources, plot. web links

Night and Day was Virginia Woolf’s second full-length novel. It was first published by Duckworth and Company in October 1919. (This was the publishing company owned by Woolf’s step-brother Gerald Duckworth.) An American edition appeared under the imprint of George H. Doran in 1920

Night and Day

first edition – Duckworth 1919


Night and Day – critical commentary

The main theme

Virginia Woolf had been writing about the plight of the young unmarried middle-class woman since her earliest works such as the short story Phyllis and Rosamund (1906). She continued to develop her observations and criticisms about women’s education and their role in society in her non-fiction polemic A Room of One’s Own (1929) and these ideas were further developed into her wholesale attack on the patriarchal nature of British society in Three Guineas (1938).

Katharine Hilbery has not been educated or trained to do anything useful except live at home with her parents. She feels oppressed by the family and its illustrious history, and her only possibility of change is the option of marriage, which is why she initially feels doomed to accept William Rodney’s offer when it comes along.

Katherine is very conscious of being cut off from the world of work – and she actively wishes she had a job. She sees this as an antidote to the somewhat pointless life she leads as an unmarried young woman living at home where she ‘helps’ her mother in the vanity project of writing her grandfather’s biography.

Work

The novel makes a strong critique of the emptiness of a young unmarried woman’s life, and contrasts this with the apparent satisfaction of being engaged in purposeful work.

The suffragist Mary Datchet is very conscious of her own independence, and proud of the fact that she has a ‘room of her own’ and works in an office for a cause in which she believes. However, she does not get paid for the work she does, and it is no surprise to eventually find that she is the daughter of a clergyman, and is thus being kept economically by her family. She is engaged in voluntary charity work, not paid employment; and she is not truly self-sufficient.

Woolf appears to have slightly romantic ideas about the nature and conditions of paid employment. Mary doesn’t start work until 10.00 am; she has expensive lunches; and she lives in central London in rooms which are spacious enough to host meetings – none of which she would be able to afford without the financial backing of her family.

Ralph Denham also doesn’t start work until 10.00 am, and seems to have endless amounts of free time for extended walks through London, for afternoon teas, and for visiting people in what would normally be working hours. He arranges to meet Katharine Hilbery for a serious discussion about his future in Kew Gardens – at three o’clock in the afternoon.

Ralph is bored by his own work as a solicitor’s clerk, and has romantic aspirations to be a journalist – having published a review in Mr Hilbery’s Critical Review. Woolf appears to be uncertain about his exact status: sometimes he claims to be a ‘solicitor’ but on other occasions he is described as a ‘solicitor’s clerk’. There is a big difference between the two.

William Rodney is supposed to be a government clerk – yet he has enough money to live in style; he owns a piano and collects expensive rare editions; and the Hilbery family think he is an acceptable match for Katharine. He too is free to attend a tea party in Cheyne Walk at half-past four in the afternoon

It’s as if Woolf didn’t want to populate her novel entirely with upper middle class people who lived off private incomes and investments, but could hardly conceptualise the lives of real working people. The result is that the three characters of Ralph Denham, William Rodney, and Mary Datchet are cyphers for working people, and are less convincing fictional characters as a result.

The text is modernist in that it reflects the technology of twentieth century life. People make telephone calls from their own homes (requesting a number from an operator) they take rides in cabs, the underground, and the omnibus (not yet abbreviated to ‘bus’) – yet it has to be said that the historical setting remains slightly vague. The only certainty is that the events pre-date 1914.

Weaknesses

The romantic oscillations and changes of mind between the four principal characters are dragged out to inordinate length. The indecisions and reversals of feelings might accurately reflect uncertainty in people’s feelings and their choices of romantic attachment, but something like twenty chapters of will-she, won’t-she (and will-he won’t-he) plus rather amateurishly orchestrated coincidental meetings put a great strain on the reader’s patience.

This element of the novel reaches almost farcical proportions in the passages dealing with William, Katherine, and Cassandra. For instance when William begs Katherine to return to their former engagement she tells him that Cassandra loves him more, at which he immediately reverses his choice and is united with Cassandra, who has been listening to the conversation in concealment – all within the space of a few short paragraphs. This is the material of a Brian Rix Whitehall farce. The novel becomes more like a radio or television soap opera than a carefully constructed novel.

If weakness can have a climax, the novel reaches one in its final chapters when the two male suitors are (quite reasonably) banned from the house by Mr Hilbery. But they are then forgiven and reinstated the following day, with no explanation given. Everyone is happy, as in a children’s story, and the serious social issues raised by the Ralph Denham—Katharine Hilbery match simply dissolve in a vaporous and false ‘resolution’.

It has been emphasised throughout the novel that Ralph Denham has no money, and is responsible for supporting the remainder of his family. It stretches credulity and the conventions of the realist novel that a family such as the Hilberys would permit their daughter to marry with so few prospects of being decently kept.

Moreover, Denham’s own prospects are also not resolved in any detail. He has been dissatisfied with his (ill-defined) work throughout the novel, occasionally nursing a fantasy of living in a cottage and writing a book, but this comes to nothing – so he is no further forward at the end of events than he was at their beginning.

Woolf also seems to forget that she endows him with the dubious habit of gambling with his scant savings on the Stock Exchange at the start of the novel – but this is never mentioned again after the first chapters. He neither loses money, nor pulls off a profitable investment. The issue is simply forgotten.

There are too many named but inconsequential characters cluttering the text. For instance, Mary Datchet’s brothers and sisters are introduced – Elizabeth, her older sister, her brother Edward who is an estate agent, and Christopher who is a law student. This might establish the social status of the children of a provincial rector, but they serve no purpose in the novel whatever, since they never reappear.

Denham’s college friend Harry Sandys is introduced in the middle of the novel, and is never mentioned again. The family relative Cyril Alardyce is living with a woman to whom he is not married, and much is made of the issue, but it is not related to the main events of the novel in any meaningful way, and once a visit of concern has been made, the topic disappears, never to be mentioned again.

Katharine’s interest in mathematics is established as her individualist reaction to the weight of social convention that she finds so oppressive. She is expected to pour tea and make polite conversation with visitors but (we are expected to believe) she has a private passion which provides a separate life outside this public realm, located in the abstract realm of numerical calculations. The problem is that this private passion is never dramatised or expressed in any way. Indeed, it is simply not mentioned again after its first appearance in the text.

These weaknesses are what would normally be described as ‘loose ends’ – that is, issues which are not successfully integrated or resolved in the overall scheme of the novel. But there are simply too many of them, and these weaknesses, coupled with the poorly executed finale to the main drama, suggest a novel which has simply not been carefully conceived or written.


Night and Day – study resources

Night and Day Night and Day – Oxford World Classics – Amazon UK

Night and Day Night and Day – Oxford World Classics – Amazon US

Night and Day Night and Day – Wordsworth Classics – Amazon UK

Night and Day Night and Day – Wordsworth Classics – Amazon US

Night and Day Night and Day – eBook formats at Project Gutenberg

Night and Day The Complete Works of Virginia Woolf – Kindle edition – Amazon UK

Night and Day Night and Day – Vintage Classics – Amazon UK

Night and Day Night and Day – Vintage Classics – Amazon US

Night and Day Virginia Woolf – biographical notes

Night and Day The Cambridge Introduction to Virginia Woolf – Amazon UK

Night and Day Selected Essays – by Virginia Woolf – Amazon UK

Night and Day The Cambridge Companion to Virginia Woolf – Amazon UK

Night and Day Virginia Woolf – Authors in Context – Amazon UK

Night and Day Virginia Woolf at Wikipedia – biographical notes, links

Night and Day Virginia Woolf at Mantex – tutorials, web links, study resources

Night and Day


Night and Day – plot summary

Chapter I. During a Sunday afternoon tea party in Cheyne Walk, Katharine Hilbery shows Ralph Denham some of the relics and souvenirs of her illustrious family. They spar with each other about issues of class and family traditions.

Chapter II. Ralph returns to his lower middle-class family home in Highgate, his mind full of Katharine and the comforts of her fashionable home. He wishes to study alone, but his elder sister Joan brings him news of a family problem which they haven’t the money to solve.

Chapter III. This chapter recounts the history of Katharine’s famous family – of which she is the only child. She and her mother are making no progress with a biography of her grandfather, the famous poet Richard Alardyce. Katharine tries to create a disciplined approach to the task, but her mother lacks all sense of proportion, selection, structure, or purpose. Katharine looks after her mother, and has a secret interest in mathematics.

Chapter IV. Ralph meets Katharine again when he attends a meeting hosted by his suffragist friend Mary Datchet. The speaker William Rodney performs badly. Katharine and Mary discuss work, and Ralph again spars with Katharine regarding class. Katharine leaves the meeting with William Rodney.

Chapter V. Ralph and his friend Harry Sandys follow Katharine and Rodney through the streets to the Embankment. Rodney wants to marry Katharine, but he has essentially chauvinistic views about women. He insists on sending her home in a cab. On then meeting Ralph, Rodney invites him back home for a drink. Ralph is impressed by the cultivated ambiance, and warms to him. He borrows a play Rodney is writing, and a few days later receives an expensive rare edition Rodney has sent him from his collection.

Chapter VI. Mary is happy to begin each day in her own room, and she is very conscious of being a ‘worker’ – although she does not get paid. She works in the morning, then over a substantial lunch she fantasises about Ralph, with whom she is in love. In the afternoon Katharine visits the office, where she becomes the recipient of proselytising on behalf of the suffragist movement. When Ralph arrives there is tension between Katherine and Mary. Ralph leaves with Katharine and then on a bus ride home they return to the subject of culture and his poverty.

Chapter VII. Katherine spends the evening at home having dinner with her parents. Her mother nostalgically recalls the family’s complex history. Katharine remains conscious of the suffragist office.

Chapter VIII. Katharine receives a proposal of marriage from William Rodney and a letter from her aunt regarding her cousin Cyril Alardyce, who is living with a woman to whom he is not married. She discusses the family problems with her father, but he disclaims any responsibility and leaves her to report the news to her mother.

Chapter IX. Katharine feels oppresses by her home, her family, and its history. Mrs Hilbery loses herself in reminiscence instead of working on the biography. Mrs Milvain suddenly appears to discuss the case of Cyril Alardyce. They are then joined by another spinster relative.

Chapter X. Joan thinks anxiously but romantically about her brother Ralph’s future. He is divided between dreams and unrealised ambitions. He has odd hobbies, and he gambles on the Stock Exchange. He goes to see his friend Mary Datchet, even though his thoughts are full of Katharine. He patronises Mary, and is unaware of her strong feelings for him.

Chapter XI. Katharine has written to William Rodney refusing his offer of marriage.She visits his rooms for tea and they talk unsuccessfully about poetry. Yet she feels doomed to marry him, and reverses her decision.

Chapter XII. Ralph visits the Hilbery house and unexpectedly finds Katharine at home. They engage in the usual sparring, but they are interrupted by the arrival of Katharine’s aunts who turn the conversation to literature and family reminiscences. Ralph is angry when they reveal that Katharine is engaged to marry William Rodney. He leaves abruptly in a state of acute disillusionment, and feels he has been betrayed.

Chapter XIII. Ralph meets Mary Datchet in Lincoln’s Inn Fields. He is in very low spirits, but will not say what is bothering him. She tries to encourage him, and invites him to her family home for Christmas.

Chapter XIV. Mary goes on to a committee meeting where she finds it difficult to concentrate because of her thoughts about Ralph. She goes home and is visited by Katharine and William Rodney who announce their engagement. She finds something attractive about Katharine, whom she compares to Ralph.

Chapter XV. Ralph visits Mary at her family home in Lincolnshire over Christmas. The scene is one of deep rural life in an old house. He settles comfortably in the welcoming hospitality of the family and feels rejuvenated by the country ambiance.

Chapter XVI. Katharine is also in Lincolnshire at nearby Stogdon House for the Christmas holidays. She sits in the garden at night, worrying about her relationship to William Rodney. She shares her feelings with her favourite cousin Henry Otway. They are interrupted by William Rodney, who is jealous and possessive regarding Katharine.

Chapter XVII. Katharine tries to discuss marriage with her mother and her aunt Charlotte. She cannot understand why her feelings have changed since leaving London, but she realises that she does not love the man she is due to marry. A party from the house sets off for a ritual outing to Lincoln.

Chapter XVIII. Ralph and Mary are walking through the fields towards Lincoln. She is in love with him: he is in love with Katharine, but does not mention it. He suddenly invents a romantic plan to give up work, live in the countryside, and write a book – but the plan noticeably excludes Mary. Ralph is momentarily tempted to ask Mary to marry him, but when he finally realises that she loves him, he changes his mind. When he sees Katharine in the street, Mary finally realises that he is in love with her. The two groups meet by accident and Ralph tells Katharine about his ‘plans’. William Rodney and Katharine then argue, and she tells him that she doesn’t love him, whereupon he is distraught, and cries, after which she changes her mind and agrees to marry him.

Chapter XIX. As Ralph and Mary walk back from Lincoln he suddenly asks her to marry him – but she realises his heart isn’t in it, and she refuses. They eventually, and reluctantly agree to remain friends, but neither of them feels very happy about the arrangement.

Chapter XX. Mary returns to her work in the wake of her disappointment. She feels disillusioned and unable to fully believe in the cause for which she is working. But she eventually adopts a stoical attitude and accepts that she might not be happy, but that she wishes to face up to the Truth.

Chapter XXI. Mary goes home and tries to write, still thinking about Ralph. She is visited by Katharine, towards whom she feels hostile. Both women want to unburden themselves about their feelings. Finally Mary reveals the full truth – that she is in love with Ralph, who is in love with Katharine. Mary feels a complex mixture of humiliation and happiness at having made the revelation.

Chapter XXII. Katharine is inspired by what she has learned, and is late for an appointment with William Rodney. But when she arrives full of intention, he waves his newfound interest in Cassandra Otway in her face as a provocation. They discuss their lack of romantic interest in each other in an emotionally sadistic manner. Katharine almost persuades him that he is in love with Cassandra – but their discussion is interrupted by the sudden arrival of Ralph.

Chapter XXIII. They all feel very awkward with each other, and are unable to speak their minds. Ralph leaves with Katharine, and makes a full revelation of his feelings about her. He also confesses his mistreatment of Mary. Katharine is privately elated by what she hears, but does not respond. Ralph goes home feeling angry about William Rodney.

Chapter XXIV. Mrs Hilbery develops an enthusiasm for Shakespeare, and Katharine is restless. Katharine invites her cousin Cassandra to visit them. She is puzzled by the connections between Ralph, William, Mary, herself, and now Cassandra. She feels that the ‘love’ in these connections should somehow be cherished. She arrives home to find William Rodney at tea. They spar with each other regarding Cassandra, and put their engagement on hold whilst he tests out the possibilities of a relationship with Cassandra- but without making it known publicly.

Chapter XXV. Katharine meets Ralph in Kew Gardens and is impressed by his botanical knowledge. He offers her a compact of honesty and friendship – and she accepts it.

Chapter XXVI. Cassandra Otway arrives in London, young and enthusiastic. There is a dinner party at the Hilyers where Katharine senses that William is getting closer to Cassandra. She leaves them together and visits Mary. There she meets Mr Basnett, a social reformer. When she arrives back home, William and Cassandra are both very happy.

Chapter XXVII. William, Katharine, Ralph, and Cassandra visit the zoo. William is angry and argues with Katharine. Ralph decides to humiliate Katharine by taking her to his home for tea. She is shocked aesthetically but warms to the conviviality of close family life. Ralph feels that his plan has failed, and they draw closer in their friendship pact again. He gives up his plan to live in a cottage.

Chapter XXVIII. Ralph tries to exorcise his obsession with Katharine, but fails completely. He wants to communicate his feelings to someone, and goes to see Mary, where he inflicts them on her. Then he goes to the Hilbery house, where he meets William leaving. They admit to each other that they are in love with and suffering because of Katharine.

Chapter XXIX. That night Cassandra reveals to Katharine that she has been affronted by a declaration from William – which causes Katharine to reveal that they are no longer engaged. Next day Mrs Milvain arrives to say that people are talking about the irregular ‘engagement’. William arrives to tell Katharine that they should drop the connection with Cassandra and revert to their former fully-engaged status. Katharine reveals that Cassandra is in love with him, whereupon he changes his mind. Cassandra has overheard their conversation, and is united with William.

Chapter XXX. Ralph has been loitering outside the house, hoping to see Katharine. When he is admitted, Rodney’s new engagement is revealed, and Ralph is left to talk with Katharine alone. They both feel ambiguous about their love for each other. Mrs Hilbery interrupts them to discuss poetry.

Chapter XXXI. Cassandra wants to be married on the same day as Katharine, who is still uncertain about the true nature of her relationship to Ralph. She feels under pressure from Cassandra and Rodney. She visits Mary (who is no longer in love with Ralph, though she regrets the fact) and they search for him fruitlessly throughout London. But when Katharine goes back home he is waiting for her and she collapses with love for him.

Chapter XXXII. The two couples celebrate by going out to a music hall, then for the next two days go to Greenwich and Hampton Court. Mrs Milvain then reports her suspicions to Mr Hilbery. When he questions Katharine she tells him that her engagement to Rodney has been mutually called off. Mr Hilbery demands explanations from Katharine, who will only say that she is no longer engaged. She and Ralph are suffering some sort of metaphysical problem about their relationship.

Chapter XXXIII. Mr Hilbery bans Ralph and William from the house, and sends Cassandra back home to Lincolnshire. Mrs Hilbery returns from Stratford and is entirely sympathetic to Katharine’s problem. She goes out to collect Ralph and William and brings them back to Cheyne Walk. They are joined by Cassandra who has missed her train. All is forgiven, and the two couples become engaged.

Chapter XXXIV. After dinner Ralph and Katharine take a bus ride and walk to Mary Datchet’s rooms – but Ralph cannot bring himself to go in and tell her their news.


Night and Day

Oxford World Classics edition


Night and Day – characters
Richard Alardyce a great 19 century poet – Katharine’s grandfather
Mr Trevor Hilbery editor of the Critical Review – Katharine’s father
Mrs Hilbery Alardyce’s only child – Katharine’s mother
Katharine Hilbery their only child (27)
Ralph Denham a solicitor’s clerk (29)
Joan Denham his elder sister (33)
Mary Datchet a suffragist volunteer (25)
William Rodney a government clerk and aesthete
Harry Sandys a college friend of Denham
Mrs Celia Milvain Katharine’s interfering aunt – Hilbery’s sister
Cyril Alardyce lecturer at workmen’s college – Katharine’s cousin
Reverend Wyndham Datchet Mary’s father – a rector
Elizabeth Datchet Mary’s elder sister
Edward Datchet an estate agent – Mary’s brother
Christopher Datchet a law student
Henry Otway Katharine’s favourite cousin in Lincolnshire
Lady Charlotte Otway Katharine’s aunt
Cassandra Otway Katharine’s attractive cousin (22)
Horace Basnett a young radical social reformer

Other works by Virginia Woolf

Virginia Woolf To the LighthouseTo the Lighthouse (1927) is the second of the twin jewels in the crown of her late experimental phase. It is concerned with the passage of time, the nature of human consciousness, and the process of artistic creativity. Woolf substitutes symbolism and poetic prose for any notion of plot, and the novel is composed as a tryptich of three almost static scenes – during the second of which the principal character Mrs Ramsay dies – literally within a parenthesis. The writing is lyrical and philosophical at the same time. Many critics see this as her greatest achievement, and Woolf herself realised that with this book she was taking the novel form into hitherto unknown territory.
Virginia Woolf To the Lighthouse Buy the book at Amazon UK
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Woolf - OrlandoOrlando (1928) is one of her lesser-known novels, although it’s critical reputation has risen in recent years. It’s a delightful fantasy which features a character who changes sex part-way through the book – and lives from the sixteenth to the twentieth century. Using this device (which turns out to be strangely credible) Woolf explores issues of gender and identity as her hero-heroine moves through a variety of lives and personal adventures. Orlando starts out as an emissary to the Court of St James, lives through friendships with Swift and Alexander Pope, and ends up motoring through the west end of London on a shopping expedition in the 1920s. The character is loosely based on Vita Sackville-West, who at one time was Woolf’s lover. The novel itself was described by Nigel Nicolson (Sackville-West’s son) as ‘the longest and most charming love-letter in literature’.
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Kew GardensKew Gardens is a collection of experimental short stories in which Woolf tested out ideas and techniques which she then later incorporated into her novels. After Chekhov, they represent the most important development in the modern short story as a literary form. Incident and narrative are replaced by evocations of mood, poetic imagery, philosophic reflection, and subtleties of composition and structure. The shortest piece, ‘Monday or Tuesday’, is a one-page wonder of compression. This collection is a cornerstone of literary modernism. No other writer – with the possible exception of Nadine Gordimer, has taken the short story as a literary genre as far as this.
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Virginia Woolf: BiographyVirginia Woolf is a readable and well illustrated biography by John Lehmann, who at one point worked as her assistant and business partner at the Hogarth Press. It is described by the blurb as ‘A critical biography of Virginia Woolf containing illustrations that are a record of the Bloomsbury Group and the literary and artistic world that surrounded a writer who is immensely popular today’. This is an attractive and very accessible introduction to the subject which has been very popular with readers ever since it was first published..
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Virginia Woolf – web links

Red button Virginia Woolf at Mantex
Biographical notes, study guides to the major works, book reviews, studies of the short stories, bibliographies, web links, study resources.

Virginia Woolf web links Blogging Woolf
Book reviews, Bloomsbury related issues, links, study resources, news of conferences, exhibitions, and events, regularly updated.

Virginia Woolf web links Virginia Woolf at Wikipedia
Full biography, social background, interpretation of her work, fiction and non-fiction publications, photograph albumns, list of biographies, and external web links

Virginia Woolf web links Virginia Woolf at Gutenberg
Selected eTexts of the novels The Voyage Out, Night and Day, Jacob’s Room, and the collection of stories Monday or Tuesday in a variety of digital formats.

Virginia Woolf web links Woolf Online
An electronic edition and commentary on To the Lighthouse with notes on its composition, revisions, and printing – plus relevant extracts from the diaries, essays, and letters.

Virginia Woolf web links Hyper-Concordance to Virginia Woolf
Search texts of all the major novels and essays, word by word – locate quotations, references, and individual terms

Red button Virginia Woolf – a timeline in phtographs
A collection of well and lesser-known photographs documenting Woolf’s life from early childhood, through youth, marriage, and fame – plus some first edition book jackets – to a soundtrack by Philip Glass. They capture her elegant appearance, the big hats, and her obsessive smoking. No captions or dates, but well worth watching.

Virginia Woolf web links Women’s History Walk in Bloomsbury
Tour of literary and political homes in Bloomsbury – including Gordon Square, Gower Street, Bedford Square, Tavistock Square, plus links to women’s history web sites.

Virginia Woolf web links Virginia Woolf Society of Great Britain
Bulletins of events, annual lectures, society publications, and extensive links to Woolf and Bloomsbury related web sites

Virginia Woolf web links BBC Audio Essay – A Eulogy to Words
Charming sound recording of radio talk given by Virginia Woolf in 1937 – a podcast accompanied by a slideshow of photographs.

Virginia Woolf web links A Family Photograph Albumn
Leslie Stephen compiled a photograph album and wrote an epistolary memoir, known as the “Mausoleum Book,” to mourn the death of his wife, Julia, in 1895 – an archive at Smith College – Massachusetts

Virginia Woolf web links Virginia Woolf first editions
Hogarth Press book jacket covers of the first editions of Woolf’s novels, essays, and stories – largely designed by her sister, Vanessa Bell.

Virginia Woolf web links Virginia Woolf – on video
Biographical studies and documentary videos with comments on Virginia Woolf and the Bloomsbury Group and the social background of their times.

Virginia Woolf web links Virginia Woolf Miscellany
An archive of academic journal essays 2003—2014, featuring news items, book reviews, and full length studies.

© Roy Johnson 2015


More on Virginia Woolf
Virginia Woolf – web links
Virginia Woolf – greatest works
Virginia Woolf – criticism
More on the Bloomsbury Group


Filed Under: Virginia Woolf Tagged With: English literature, Literary studies, The novel, Virginia Woolf

Nightwood

November 20, 2012 by Roy Johnson

an experimental poetic-imagist novel

Nightwood was first published in 1936 when Djuna Barnes was at the height of her short-lived fame as a doyenne of the literary modernists. She was published by Faber and Faber, and the book was personally endorsed by its editor in chief at that time, her fellow American T.S.Eliot The novel has been kept alive and in print ever since on the strength of his enthusiastic preface, whilst Barnes herself sunk rapidly after its publication into an unproductive alcoholism for more or less the rest of her life, living on an allowance supplied by her rich patroness, Peggy Guggenheim.

NightwoodIt’s easy to see why Eliot was a supporter. Barnes uses the same techniques of literary collage, fragmentation, and striking if unrelated images as he had made famous in The Waste Land. And she’s also much given to the sort of semi-mystical abstract generalisation that characterise The Four Quartets.

The narrative such as it is, comprises a series of interlocking character sketches. A portrait of the garrulous transvestite Doctor O’Connor is followed by ‘Baron’ Felix Volkbein and his failed marriage to Robin Vote, who then forms a lesbian relationship with Nora Flood (a thinly disguised portrait of Barnes herself). When Robin meets the rich and much married Jenny Petherbridge they run away together, taking with them Sylvia, a young English girl, who is herself in love with Robin. Nora spends long periods in acute anguish, pining after the elusive Robin. She appeals to the doctor for sympathy, to which he responds with lengthy inconsequential monologues which stretch on for several pages at a time:

The almost fossilized state of our recollection is attested to by our murderers and those who read every detail of crime with a passionate and hot interest … It is only by such extreme measures that the average man can remember something long ago, truly, not that he remembers, but that crime itself is the door to an accumulation, a way to lay hands on the shoulder of a past that is still vibrating.

Barnes’s prose style is characterised by long convoluted sentences in which the subject switches from one topic to another without any apparent reason. She also uses extravagant similes and metaphors that are over-elaborated in a way which takes attention away from any perceptible story:

As the altar of a church would present but a barren stylisation but for the uncalculated offerings of the confused and humble; as the courage of a woman is made suddenly made martial and sorrowful by the rose thrust among the more decorous blooms by the hand of a lover suffering the violence of the overlapping of the permission to bestow a last embrace, and its withdrawal making a vanishing and infinitesimal bull’s eye of that which had a moment before been a bouyant and showy bosom, by dragging time out of his bowels (for a lover knows two times, that which he is given, and that which he must make – so Felix was astonished to find that the most touching flowers laid on the altar he had raised to his imagination were placed there by the people of the underworld, and that the reddest was to be the rose of the doctor.

The nearest equivalents to this sort of literary mannerism that come to mind are William Faulkner and Gertrude Stein (both her contemporaries). The novel was considered scandalous at the time of its appearance, largely because of the lesbian theme. But behind the anguish suffered by Nora about her relationship with the promiscuous Robin, there is nothing remotely explicitly sexual between them. In fact none of the characters have any meaningful connection with each other at all. They seem to exist merely as verhicles for Barnes’s gothic imagination and her penchant for poetic image-making.

It is not a book which suggests that subsequent readings will yield up further coherence or meaning, but maybe like The Well of Loneliness which was published only a few years earlier (1928) it is a book of its time which helped to throw off the shackles of Edwardianism after the horrors of the first world war, and opened up the era of modern personal liberty which we now all take for granted.

Nightwood Buy the book at Amazon UK

Nightwood Buy the book at Amazon US

© Roy Johnson 2012


Djuna Barnes, Nightwood, London: Faber, 2007, pp.192, ISBN: 057123528X


Filed Under: 20C Literature Tagged With: Djuna Barnes, English literature, Literary studies, Modernism, Nightwood, The novel

Nina Berberova

October 27, 2018 by Roy Johnson

Nina Berberova (1901-1993) was a prolific Russian writer who chronicled the lives of her fellow countrymen living in exile in Berlin, Paris, and New York. She was a contemporary of Vladimir Nabokov, who she greatly admired and who followed the same route of exile. Her memoir traverses three continents and three different cultures, and she was both sympathetic to and critical of them all.

Nina Berberova

She was born in 1901 into an upper-middle class family of mixed origins. Her father was northern (Russian) and her mother southern (Armenian). As a child she had a precocious ambition to establish a profession that would last her for life. Since nothing else seemed suitable, she decided to be ‘a poet’.

The memories in her autobiography are linked by their associations rather than by strict chronology. She describes her childhood in the early years of the twentieth century, then her father as a civil servant during the revolution, his appearance as a film extra in the 1930s, then her watching the film as an exile in Paris. It is something of a scatter-gun approach to history.

One moment she is playing with dolls, the next, fifty years later, she is liberated by the realisation that what appear to be contradictions within the Self are what constitute the complexities of individual personality. In the same paragraph poor, semi-naked peasants are wallowing in nineteenth-century rural idiocy and sophisticated writers are being shot in Stalin’s purges of the 1930s.

One thing remains constant no matter what the circumstances or the period in her life – finding joy in the smallest events of everyday life. She enjoys the precious moments of childhood with people who in the next sentence disappear into the concentration camps of the GULAG, never to be heard of again

Even as a teenager she inhabited an incredibly rich cultural world. She lived on the same street as Mayakovsky and attended readings by poets Blok and Akhmatova, both of whom she knew personally. But suddenly all her youthful dreams of an aesthetic life were swept aside by the February revolution – the causes of which she lays firmly at the feet of Tsar Nicholas II. Her family were forced to move to Moscow then to Rostov in the south. With the country in the grip of civil war, she experienced hunger and deprivation for the first time.

In 1921 the family returned to Petersburg where she was ‘permitted’ to join the Poet’s Union by Gumilev (first husband of Anna Akhmatova). He paid court to Berberova (unsuccessfully). Later the same year he was arrested and shot by the Checka as a counter-revolutionary.

The next year she met Vladislav Khodasevich, the poet who was to become her first husband. At the same time the threat of political repression was increasingly apparent. It became necessary to ‘survive’ – as many did not. In the early 1920s, whilst it was still miraculously possible to obtain passports, she and Khodasevich left for Europe – never to return.

They settled in the first centre of emigration – Berlin – alongside Andrey Bely, Boris Pasternak, and Vladimir Nabokov. For a while they formed part of the ‘family’ surrounding Maxim Gorky. Her initial phase in Berlin is dominated by the figure of Bely, the erratic genius (and author of the masterpiece, Petersburg) who eventually decided to go back to Moscow.

There are soirees with the celebrated but talentless Gorky and his mistress/secretary, the spy and double agent Moura Budberg. Nina Berberova was very friendly with Gorky and goes out of her way to present him as an appealing character – but without much success. His fiction was third rate, and he was an abject apologist for Stalin. There are also detailed character sketches of poets Boris Pasternak and Maria Tsvetaeva.

Berberova and Khodasevich went on to Prague then Venice. This is very much a memoir of cultural history and even aesthetic philosophy. There are no details of how they earned a living – until they made their way to the second centre of emigration – Paris. There, poverty gripped them so fiercely that Khodasevich thought of attempting suicide, and wanted Berberova to join him.

She recalls bitterly how whilst the Russian intelligentsia were being strangled by censorship and physically exterminated with ‘a bullet in the back of the neck’, the Western democracies made no protest and did nothing to alleviate the plight of their fellow writers. Indeed, the likes of George Bernard Shaw, H.G.Wells, and Romain Rolland gave active support to the USSR – completely blind to the lies and the myths of ‘democracy’ promulgated by the Stalin regime.

Her account of the 1920s and 1930s in Paris are filled with petty literary rivalries, feuds, and character sketches of the largely doomed expatriates. Curiously enough, she makes little mention of her own enormous productivity. She produced one of the first biographical studies of Tchiakovsy that took account of his homosexuality.

This was the Paris of writers Gertrude Stein and James Joyce, artists Larionov and Natalia Goncharova, musicians Nikolai Medtner and Igor Stravinsky. But her account also includes political figures such as former Prime Minister Kerensky clinging tragically to life in the dustbin of history, still believing he was the legitimate head of the Russian state. (He shows up again in America in the 1960s.)

She gives a very touching and very honest account of her relationship with Khodasevich. They are comrades, collaborators, lovers, and partners in poverty – yet she concedes to his superiority (though I suspect that more people now read her work than his). Yet she also documents the decline in their relationship.

She left him in 1932 and celebrated her single state. Khodasevich took up with another simpler woman, whom Berberova adopted as a sympathetic project even after Khodesevich’s very painful death from cancer. She found her own comfort with painter and writer Nikolai Makeyev with whom she moved to live in a barn on the outskirts of Paris.

During the war years she reproduces the brief thoughts and observations she made in a ‘black notebook’ at the time. All is fragmentation, shortages, betrayals, and a reminder that American and English planes bombed (German occupied) Paris. There are also unpleasant reminders of wartime behaviour such as denunciations by neighbours and the looting of unattended properties.

Her continuous narrative resumes in 1949 when she reports on the celebrated Viktor Kravchenko affair in which a Russian attache defected and published I Chose Freedom. Shortly afterwards she felt she had reached a low point in her personal life and in her relationship with European culture. She made a completely fresh start by emigrating to America.

She had no money and didn’t speak English, but she was befriended and helped by Alexandra Lvovna, the youngest daughter of Leo Tolstoy who ran a relief organisation for expatriates in New York. Berberova worked as a multi-lingual typist and secretary, then later was appointed as Professor of Russian Literature at Princeton. But she skates lightly over her American years on the grounds that at the time of composing her memoir (the early 1960s) many of her friends were still alive. She herself still had thirty years left to live, and she admits that the memoir is ‘cautious’.

However, she does end her account on a wonderfully elegiac note. Returning to visit the Paris that had nurtured her for more than two decades, she comes across an ageing Simone de Beauvoir in a restaurant and reflects rather critically on illusions perdues. Then, whilst seeing off a friend at the Gare du Nord, she meets Anna Ahkmatova who is returning to Moscow for the last time. The two women have not met for almost forty years, but two generations and half a lifetime are summed up in the brief gestures of symathy that pass between them.

The Italics Are Mine is not on the scale nor is it pitched at the soul-piercing ferocity of Nadeshda Mandelstam’s Hope Against Hope and Hope Abandoned, but it does represent a fascinating and amazingly well-informed account of literature and politics during the European emigration that followed the Russian revolution.

© Roy Johnson 2018


The Italics Are Mine – biography – Amazon UK

The Italics Are Mine – biography – Amazon US

The Ladies from St Petersberg – novellas – Amazon UK

The Book of Happiness – novel – Amazon UK


Filed Under: Biography Tagged With: Cultural history, Literary studies, Nina Berberova

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