Probably the finest example of 'sensation fiction', a Victorian
genre that used suspense as a basic element. This work twists and
turns with dastardly deeds and shameful secrets, love and
dishonour. Usually regarded as one of the original 'detective'
stories, Collins's novel is much concerned with personal danger,
suspense, the conflict of good and evil, and characters at the
extremes of suffering and survival - a genuine thriller. The
'rescue of innocence' theme is essential to the genre, and the
characterization and psychological detail are elements too often
ignored by the thriller. Thackeray stayed up all night to finish
it, and so will you. (Kirkus UK)
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‘In one moment, every drop of blood in my body was brought to a stop … There, as if it had that moment sprung out of the earth … stood the figure of a solitary Woman, dressed from head to foot in white’
The Woman in White famously opens with Walter Hartright’s eerie encounter on a moonlit London road. Engaged as a drawing master to the beautiful Laura Fairlie, Walter is drawn into the sinister intrigues of Sir Percival Glyde and his ‘charming’ friend Count Fosco, who has a taste for white mice, vanilla bonbons and poison. Pursuing questions of identity and insanity along the paths and corridors of English country houses and the madhouse, The Woman in White is the first and most influential of the Victorian genre that combined Gothic horror with psychological realism.
Matthew Sweet’s introduction explores the phenomenon of Victorian ‘sensation’ fiction, and discusses Collins’s biographical and societal influences. Included in this edition are appendices on theatrical adaptations of the novel and with its serialization history.
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