The novels of Charlotte and Emily Bronte have become canonical texts for the application of twentieth century literary and cultural theory. Along with the work of their sister, Anne, their texts are regarded as a sources of diversity in themselves, full of conflictual material which different schools of criticism have analysed and interpreted. This book shows how the Brontes writings engage with the major issues which dominate twentieth century theoretical work. The essays are grouped under broad schools of theory- biographical; feminist; marxist; psychoanalytical and postcolonial.

The Language of Gender and Class challenges widely-held assumptions about the study of the Victorian novel. Lucid, multilayered and cogently argued, this volume will provoke debate and encourage students and scholars to rethink their views on ninteenth-century literature.
Examining six novels, Patricia Ingham demonstrates that none of the writers, male or female, easily accept stereotypes of gender and class. The classic figures of Angel and Whore are reassessed and modified. And the result, argues Ingham, is that the treatment of gender by the late nineteenth century is released from its task of containing neutralising class conflict. New accounts of feminity can begin to emerge. The novels which Ingham studies are:
* Shirley by Charlotter Bronte
* North and South by Elizabeth Gaskell
* Felix Holt by George Eliot
* Hard Times by Charles Dickens
* The Unclassed by George Gissing
* Jude the Obscure by Thomas Hardy

The Language of Gender and Class challenges widely-held assumptions about the study of the Victorian novel. Lucid, multilayered and cogently argued, this volume will provoke debate and encourage students and scholars to rethink their views on ninteenth-century literature.
Examining six novels, Patricia Ingham demonstrates that none of the writers, male or female, easily accept stereotypes of gender and class. The classic figures of Angel and Whore are reassessed and modified. And the result, argues Ingham, is that the treatment of gender by the late nineteenth century is released from its task of containing neutralising class conflict. New accounts of feminity can begin to emerge. The novels which Ingham studies are:
* Shirley by Charlotter Bronte
* North and South by Elizabeth Gaskell
* Felix Holt by George Eliot
* Hard Times by Charles Dickens
* The Unclassed by George Gissing
* Jude the Obscure by Thomas Hardy

Much theoretical and historical work engaged with the question of the "postcolonial" is built upon an imagined, unified premodern "Middle Ages" in Europe. One of the results of this has been that in recent years scholars in medieval and early modern studies have been critically assessing the uses of postcolonial and subaltern theoretical perspectives in their fields, and considering what their periods have to say to postcolonial theorists. This book offers a series of original essays that explore with specificity the methodological, textual, cultural, and historiographic moves required for postcolonial engagements with premodern times.

Hardy's last and most controversial novel, Jude the Obscure caused much outrage when it was published in 1895. Jude Fawley, poor and working-class, longs to study at the University of Christminster, but his ambitions to go to university are thwarted by class prejudice and his entrapment in a loveless marriage. He falls in love with his unconventional cousin, Sue Bridehead, and their refusal to marry when free to do so confirms their rejection of and by the world around them. The shocking fate that overtakes them is an indictment of a rigid and uncaring society. This is the first truly critical edition, taking account of the changes that Hardy made over twenty-five years. Hardy's last, and most controversial novel, this revised edition has the first truly critical text, a new chronology and bibliography, and substantially revised notes.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

‘How am I to dress up in my finery, and go off and away to smart parties, after the sorrow I have seen today?’

When her father leaves the Church in a crisis of conscience, Margaret Hale is uprooted from her comfortable home in Hampshire to move with her family to the north of England. Initially repulsed by the ugliness of her new surroundings in the industrial town of Milton, Margaret becomes aware of the poverty and suffering of the local mill workers and develops a passionate sense of social justice. This is intensified by her tempestuous relationship with the mill-owner and self-made man, John Thornton, as their fierce opposition over his treatment of his employees masks a deeper attraction. In North and South, Elizabeth Gaskell skillfully fused individual feeling with social concern, and in Margaret Hale created one of the most original heroines of Victorian literature.

In her introduction Patricia Ingham examines geographical, economic and class differences, and male and female roles in North and South. This edition also includes a list for further reading, notes and a glossary.

The most well-known and well-liked of Gaskell's works, this softly humorous picture of an English country village was first serialized in a magazine edited by Charles Dickens in 1851. Based on the village of Gaskell's childhood, "Cranford" is narrated by a young woman visiting the town who describes the genteel poverty of two middle-aged spinster sisters, Miss Matty and Miss Deborah. Gaskell tells of their little adventures in a confidential and almost chatty tone, perfectly conveying their habits and standards of propriety, decency, and kindness in reduced circumstances. The colorful characters and subtle class distinctions of the village of Cranford are captured in this compassionate and hopeful portrayal of small-town English life.

From the author of North and South and Mary Barton, Elizabeth Gaskell's Cranford is a standalone publication of Elizabeth Gaskell's best-known work, with a critical introduction by Patricia Ingham in Penguin Classics. Cranford depicts the lives and preoccupations of the inhabitants of a small village - their petty snobberies, appetite for gossip, and loyal support for each other in times of need This is a community that runs on cooperation and gossip, at the very heart of which are the daughters of the former rector: Miss Deborah Jenkyns and her sister Miss Matty, But domestic peace is constantly threatened in the form of financial disaster, imagined burglaries, tragic accidents, and the reapparance of long-lost relatives. to Lady Glenmire, who shocks everyone by marrying the doctor. When men do appear, such as 'modern' Captain Brown or Matty's suitor from the past, they bring disruption and excitement to the everyday life of Cranford. In her introduction, Patricia Ingham places the novel in its literary and historical context, and discusses the theme of female friendship and Gaskell's narrative technique. This edition also contains an account of Gaskell's childhood in Knutsford, on which Cranford is based, appendices on fashion and domestic duties supplemented by illustrations, a chronology of Gaskell's life and works, suggestions for further reading, and explanatory notes. Elizabeth Gaskell (1810-65) was born in London, but grew up in the north of England in the village of Knutsford. In 1832 she married the Reverend William Gaskell and had four daughters, and one son who died in infancy. Her first novel, Mary Barton, was published in 1848, winning the attention of Charles Dickens, and most of her later work was published in his journals. She was also a lifelong friend of Charlotte Bronte, whose biography she wrote. If you enjoyed Cranford, you may like Jane Austen's Mansfield Park, also available in Penguin Classics.

Under the Greenwood Tree is Thomas Hardy’s one and only rural idyll, a startling contrast to his other Wessex tales. In Mellstock, its surrounding farms and woodlands, the story interweaves the lingering courtship of Dick Dewy and sweet Fancy Day with the battle for survival of the old Mellstock String Choir – the last in the county – against the mechanical church organ of the new vicar, the Reverend Maybold.

Under the Greenwood Tree appears to be pastoral romance at its most sunlit and good humoured, and has been called the ‘most nearly flawless of Hardy’s novels’. Yet, as Tim Dolin shows in his Introduction, there is a darker side to this paradise, seen particularly in the conflicts arising over anachronistic customs and rituals, and the ambiguities surrounding Fancy’s forthcoming marriage. For Hardy, who drew out the associations with his own childhood in later revisions, the novel came to epitomize a past that had been forever lost to him and to England.

This new Penguin Classics edition, based on the two-volume first edition of 1872, includes Appendices which reflect the unique textual history of the novel.

Edited with an Introduction and Notes by Tim Dolin

In The Pursuit of the Well-Beloved (1892) and The Well-Beloved (1897), Hardy writes two different versions of a strange story set in the weird landscape of Portland.

The central figure is a man obsessed both with the search for his ideal woman and with sculpting the perfect figure of a naked Aphrodite. The pursuit finally fixes on three women called Avice Caro - grandmother, mother and daughter - in a way that mixes tragedy and high farce.

The books were written one before and one after his 'last' novel, Jude the Obscure (1895). Both stories are richly ambiguous but the first shows the successful exercise of masculine power and the second shows women triumphant. The double work, coming at the end of Hardy's long career as a novelist, anticipates modernist writing by offering not merely alternative endings but alternative plots. This edition is the first to provide both separate texts and separate commentaries.

In her introduction, Patricia Ingham explores Hardy's preoccupation with contingency and 'might-have-beens' in female-male relationships.

'I have made up my mind (with God's leave) to go to America - and to start as soon after Christmas as it will be safe'

So wrote an exuberant Dickens shortly before his voyage to America in 1842. He was the most famous of many travellers of his time who journeyed to the New World, curious to find out about the revolutionary new civilization which had captured the English imagination. His frank, often humorous descriptions cover everything from his comically uncomfortable sea voyage to his wonder at the Niagara Falls. In general Dickens is critical of what he saw as a society ruled by money and built on slavery, with unsavoury manners and a corrupt press. His unfavourable account provoked a hostile response in America and Britain, although he was to change his opinion later.

American Notes can be read as a journey in the long-established tradition of Chaucer, Bunyan or Swift - as a progress to knowledge through varied experiences. Above all, it is a fascinating account of what was for Dickens an illuminating encounter with the New World.

This edition includes a critical introduction, chronology, explanatory notes and three appendices reflecting Dickens's changing views on America.

‘You are ambitious, Eustacia – no not exactly ambitious, luxurious. I ought to be of the same vein, to make you happy, I suppose’

Tempestuous Eustacia Vye passes her days dreaming of passionate love and the escape it may bring from the small community of Egdon Heath.  Hearing that Clym Yeobright is to return from Paris, she sets her heart on marrying him, believing that through him she can leave rural life and find fulfilment elsewhere. But she is to be disappointed, for Clym has dreams of his own, and they have little in common with Eustacia’s. Their unhappy marriage causes havoc in the lives of those close to them, in particular Damon Wildeve, Eustacia’s former lover, Clym’s mother and his cousin Thomasin. The Return of the Native illustrates the tragic potential of romantic illusion and how its protagonists fail to recognize their opportunities to control their own destinies.

Penny Boumelha’s introduction examines the classical and mythological references and the interplay of class and sexuality in the novel. This edition, essentially Hardy’s original book version of the novel, also includes notes, a glossary, chronology and bibliography.

Thomas Hardy said of The Woodlanders that he liked it 'as a story' the best of all his novels. The story itself is classically simple. The disastrous impact of outside life on a secluded community in Dorset is captured in the account of two rivals for the hand of Grace Melbury: Giles Winterborne, a simple and loyal woodlander, and an exotic and sophisticated outsider, Dr Edred Fitzpiers. Betrayal, adultery, disillusion and moral compromise are all worked out in a setting evoked as both beautiful and treacherous.

In her Introduction to this new Penguin Classics edition, Patricia Ingham discusses Hardy's preoccupation with the capacities and limitations of the language which he used to explore the issues that preoccupied him as a novelist. These were the implications of evolution, the role of social class, and the nature of women.

`there are half a million more women than men in this unhappy country of ours . . . So many odd women - no making a pair with them.' The idea of the superfluity of unmarried women was one the `New Woman' novels of the 1890s sought to challenge. But in The Odd Women (1893) Gissing satirizes the prevailing literary image of the `New Woman' and makes the point that unmarried women were generally viewed less as noble and romantic figures than as `odd' and marginal in relation to the ideal of womanhood itself. Set in grimy, fog-ridden London, these `odd' women range from the idealistic, financially self-sufficient Mary Barfoot and Rhoda Nunn, who run a school to train young women in office skills for work, to the Madden sisters struggling to subsist in low-paid jobs and experiencing little comfort or pleasure in their lives. Yet it is for the youngest Madden sister's marriage that the novel reserves its most sinister critique. With superb detachment Gissing captures contemporary society's ambivalence towards its own period of transition. The Odd Women is a novel engaged with all the major sexual and social issues of the late-nineteenth century. Judged by contemporary reviewers as equal to Zola and Ibsen, Gissing was seen to have produced an `intensely modern' work and it is perhaps for this reason that the issues it raises remain the subject of contemporary debate. *Introduction *Textual Note *Bibliography *Chronology *Explanatory Notes *Map ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

A Laodicean draws deeply on Hardy's personal experience: his early life as an architect, his frustration in love and his ambivalence about theology and the modern age. The daughter of a wealthy railway magnate, Paula Power inherits De Stancy Castle, an ancient castle in need of modernization. She commissions George Somerset, a young architect, to undertake the work. Somerset falls in love with Paula but she, the Laodicean of the title, is torn between his admiration and that of Captain De Stancy, whose old-world romanticism contrasts with Somerset's forward-looking outlook. Paula's vacillation, however, is not only romantic. Her ambiguity regarding religion, politics and social progress is a reflection of the author's own. This new Penguin Classics edition of Hardy's text contains an introduction and notes that illuminate and clarify these themes and draws parallels between the text and the author's life and views.

While writing Martin Chuzzlewit - his sixth novel - Dickens declared it 'immeasurably the best of my stories.' He was already famous as the author of The Pickwick Papers and Oliver Twist.

Set partly in America, which Dickens had visited in 1842, the novel includes a searing satire on the United States. Martin Chuzzlewit is the story of two Chuzzlewits, Martin and Jonas, who have inherited the characteristic Chuzzlewit selfishness. It contrasts their diverse fates of moral redemption and worldly success for one, with increasingly desperate crime for the other. This powerful black comedy involves hypocrisy, greed and blackmail, as well as the most famous of Dickens's grotesques, Mrs Gamp.

In her introduction to this new Penguin Classics edition, Patricia Ingham discusses how, in writing a story that was only meant to 'recommend goodness and innocence', Dickens succeeded in exploring 'the intertwining of moral sensibility and brutality.'

The Trumpet-Major, set against the background of the Napoleonic wars, is one of Hardy's most fascinating stories of love and desire. Anne Garland, who lives with her widowed mother in a mill owned by Miller Loveday, has three suitors: the squire's son Festus and the miller's two sons, Robert and John. As the Wessex village prepares for possible invasion by Napoleon's fleet, Anne finds her destiny increasingly tangled up with the events of history. For Robert is a sailor while John is a soldier both with equal commitments to their country and their love for Anne. Lyrical and light-hearted in tone, yet shot through with Hardy's characteristic irony, The Trumpet-Major is one of Hardy's most underrated and unpredictable works. In her introduction to this new edition, Linda Shires brilliantly demonstrates how the novelist defies the reader's expectations by his parallel use of literary modes which call each other into question: comedy, romance and history.

'"See if she is dark or fair, and if you can, notice if her hands be white; if not, see if they look as though she had ever done housework, or are milker's hands like mine."' So Rhoda Brook, the abandoned mistress of Farmer Lodge, is jealous to discover details of his new bride in 'The Withered Arm', the title story in this selection of Hardy's finest short stories. Hardy's first story, 'Destiny and a Blue Cloak' was written fresh from the success of Far From the Madding Crowd. Beautiful in their own right, these stories are also testing-grounds for the novels in their controversial sexual politics, their refusal of romance structures, and their elegiac pursuit of past, lost loves. Several of the stories in The Withered Arm were collected to form the famous volume, Wessex Tales (1888), the first time Hardy denoted 'Wessex' to describe his fictional world. The Withered Arm is the first of a new two-volume selection of Hardy's short stories, edited with an introduction and notes by Kristin Brady.

The labyrinthine, ingenious plot of Bleak House focuses on the seemingly endless lawsuit Jarndyce and Jarndyce, an inheritance dispute that has been moving through the courts for years. Dozens of characters, including the innocent young narrator Esther Summerson, her friends Richard Carstone and Ada Clare, and the jaded aristocrats Sir Leicester and Lady Honoria Dedlock, are directly or indirectly caught up in the case. Written in bold and inventive language, Bleak House is Dickens's epic vision of Victorian society.The critical introduction and extensive appendices to this edition focus on the novel's social context and reception, Dickens's treatment of his women characters and the working class, and the inequalities of the Victorian legal system.

In this tale of 'star-crossed' love, Hardy sets the emotional lives of his two lovers 'against the stupendous background of the stellar universe'.

Lady Constantine breaks all the rules of social decorum when she falls in love with the beautiful youth Swithin St Cleeve, her social inferior and ten years her junior. The tower in question is a monument converted into an astronomical observatory where together the lovers 'sweep the heavens'.

Science and romance are destined to collide, however, as work, ambition and the pressures of the outside world intrude upon the pair. In what Sally Shuttleworth calls 'a drama of oppositions and conflicts', Hardy's story sets male desire against female constancy, and 'describes an arc across the horizon of late nineteenth-century social and cultural concerns: sexuality, class, history, science and religion'.