Our Mutual Friend (1864-5) Dickens? last completed novel, has been critically praised as a profound and troubled masterpiece, and yet is has received far less scholarly attention than his other major works. This volume is the first book-length study of the novel. It explores every aspect of Dickens? sustained imaginative involvement with his age. In particular its original research into hitherto neglected sources reveals not only Dickens? reactions to the important developments during the 1860s in education, finance and the administration of poverty, but also his interest in phenomena as diverse as waste collection and the Shakespeare tercentenary. The Companion to Our Mutual Friend demonstrates the varied resources of artistry that inform the novel, and it provides the reader with a fundamental source of information about one of Dickens? most complex works.

Our Mutual Friend (1864-5) Dickens' last completed novel, has been critically praised as a profound and troubled masterpiece, and yet is has received far less scholarly attention than his other major works. This volume is the first book-length study of the novel. It explores every aspect of Dickens' sustained imaginative involvement with his age. In particular its original research into hitherto neglected sources reveals not only Dickens' reactions to the important developments during the 1860s in education, finance and the administration of poverty, but also his interest in phenomena as diverse as waste collection and the Shakespeare tercentenary. The Companion to Our Mutual Friend demonstrates the varied resources of artistry that inform the novel, and it provides the reader with a fundamental source of information about one of Dickens' most complex works.

The Theater of Trauma is a groundbreaking re-reading of the relations between psychology and drama in the age of Eugene O'Neill, Susan Glaspell, and their many brilliant contemporaries. American modernist Theater of Trauma drew its vision from the psychological investigation of trauma and its consequences - among them hysteria and dissociation - made by French and American psychiatrists such as the great Pierre Janet, Alfred Binet, William James, Morton Prince, and W.E.B. Du Bois; the European and American « dissociationist culture that developed around their work; and the resulting trauma of World War I. American dramatists' deep resistance to Freud's suppression of trauma challenges the equation of Freud and modernism that has become commonplace in modernist criticism.

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