A book on the experience of reading the works of Samuel Beckett. After a life of writing about Victorian novelists, Rosemarie Bodenheimer found herself entranced by the work of Samuel Beckett. In this book she shares her journey of discovery with readers who may or may not be familiar with Beckett's novels and stories. She follows his trajectory from the first unpublished novel, Dream of Fair to Middling Women, through the great post-war trilogy of Molloy, Malone Dies, and The Unnamable, and on to the ever more experimental inventions in the shorter, later fictions, and monologues. Through readings of his work alongside extracts from his published correspondence, Beckett emerges as a sympathetic human figure, a poet of productive doubt, and a brilliant stylist of mood changes and second thoughts. Bodenheimer considers Beckett's treatments of memory, nostalgia, and grief, and the forms he finds to convey those essential human experiences while avoiding melodrama or sentimentality. His dramatized relationship with his own writing is a crucial part of that emotional landscape. His playful jousts with the conventions of novel-writing show how, from the start, Beckett challenged the notion of character and other inherited novel conventions. The book also emphasizes his dismantling of the autobiographical "I" his moving narratives of attachment and loss, and the inimitable mixture of comedy and pathos he creates by inventing outlandish situations to which his characters respond in very recognizable human ways.

In this compelling and accessible book, Rosemarie Bodenheimer explores the thoughtworld of the Victorian novelist who was most deeply intrigued by nineteenth-century ideas about the unconscious mind. Dickens found many ways to dramatize in his characters both unconscious processes and acts of self-projection notions that are sometimes applied to him as if he were an unwitting patient. Bodenheimer explains how the novelist used such techniques to negotiate the ground between knowing and telling, revealing and concealing. She asks how well Dickens knew himself the extent to which he understood his own nature and the ways he projected himself in his fictions and how well we can know him.

Knowing Dickens is the first book to systematically explore Dickens's abundant correspondence in relation to his published writings. Gathering evidence from letters, journalistic essays, stories, and novels that bear on a major issue or pattern of response in Dickens's life and work, Bodenheimer cuts across familiar storylines in Dickens biography and criticism in chapters that take up topics including self-defensive language, models of memory, relations of identification and rivalry among men, houses and household management, and walking and writing."

In this compelling and accessible book, Rosemarie Bodenheimer explores the thoughtworld of the Victorian novelist who was most deeply intrigued by nineteenth-century ideas about the unconscious mind. Dickens found many ways to dramatize in his characters both unconscious processes and acts of self-projection notions that are sometimes applied to him as if he were an unwitting patient. Bodenheimer explains how the novelist used such techniques to negotiate the ground between knowing and telling, revealing and concealing. She asks how well Dickens knew himself the extent to which he understood his own nature and the ways he projected himself in his fictions and how well we can know him.

Knowing Dickens is the first book to systematically explore Dickens's abundant correspondence in relation to his published writings. Gathering evidence from letters, journalistic essays, stories, and novels that bear on a major issue or pattern of response in Dickens's life and work, Bodenheimer cuts across familiar storylines in Dickens biography and criticism in chapters that take up topics including self-defensive language, models of memory, relations of identification and rivalry among men, houses and household management, and walking and writing."

Bodenheimer defines the personal paradoxes that helped to shape Eliot's fictional characters and narrative style. Bodenheimer revisits pivotal episodes in Mary Ann Evans's life and career, including the "Holy War" through which she asserted her youthful religious skepticism; her decision to elope with the married writer George Henry Lewes; and her marriage with John Cross after Lewes's death. Bodenheimer also discusses the rumor campaign that led to the discovery that "George Eliot" was a woman, and she traces the trajectory of Eliot's impassioned conflict between her ambition and her womanhood.