Approaching its subject both contextually and comparatively, George Gissing and the Woman Question reads Gissing's novels, short stories and personal writings as a crux in European fiction's formulations of gender and sexuality. The collection places Gissing alongside nineteenth- and twentieth-century authors as diverse as Paul Bourget, Ella Hepworth Dixon, May Sinclair and Theodore Dreiser, theorizing the ways in which late-Victorian sexual difference is challenged, explored and performed in Gissing's work. In addition to analyzing the major novels, essays make a case for Gissing as a significant short story writer and address Gissing's own life and afterlife in ways that avoid biographical mimetics. The contributors also place Gissing's work in relation to discourses of subjectivity and intersubjectivity, identity, public space, class and labour, especially literary production. Increasingly viewed as a key chronicler of the late Victorian period's various redefinitions of sexual difference, Gissing is here recognized as a sincere, uncompromising chronicler of social change.

Arguably, no topic dominates the Victorian novel more than that of money; no other Victorian novelist was more preoccupied with this subject than George Gissing (1857-1903).In the first full-length study of this perplexing but compelling novelist, James examines how Gissing s work reveals an unhappy accommodation with money s underwriting of human existence and culture, and how daily life in all its forms -- moral, intellectual, familial and erotic -- is transcended or made irrelevant by the commodification of everyday life. Novels such as "New Grub Street" expose high culture s dependence on the ruthless Darwinism of late Victorian capitalism: literary and personal success can only be achieved by understanding and adapting to the immanent and irresistible nature of a market hostile to the development of human self-betterment.Situated against nineteenth-century analyses of monetary relations by thinkers such as Ruskin, Mill, Marx and Carlyle, and novels by Dickens, Eliot and Hardy, "Unsettled Accounts" demonstrates how Gissing s work is engagedly modern, dealing as it does with changes in the nature of the literary market, advertising, imperialism, the New Woman, and the condition of the working classes. This groundbreaking new study, published in the centenary of Gissing s death, will be of considerable interest to undergraduates, researchers and scholars. A valuable introduction to Gissing s work, it claims a prominent place for him in fin-de-sihcle Victorian literature.

Arguably, no topic dominates the Victorian novel more than that of money; no other Victorian novelist was more preoccupied with this subject than George Gissing (1857-1903).In the first full-length study of this perplexing but compelling novelist, James examines how Gissing s work reveals an unhappy accommodation with money s underwriting of human existence and culture, and how daily life in all its forms -- moral, intellectual, familial and erotic -- is transcended or made irrelevant by the commodification of everyday life. Novels such as "New Grub Street" expose high culture s dependence on the ruthless Darwinism of late Victorian capitalism: literary and personal success can only be achieved by understanding and adapting to the immanent and irresistible nature of a market hostile to the development of human self-betterment.Situated against nineteenth-century analyses of monetary relations by thinkers such as Ruskin, Mill, Marx and Carlyle, and novels by Dickens, Eliot and Hardy, "Unsettled Accounts" demonstrates how Gissing s work is engagedly modern, dealing as it does with changes in the nature of the literary market, advertising, imperialism, the New Woman, and the condition of the working classes. This groundbreaking new study, published in the centenary of Gissing s death, will be of considerable interest to undergraduates, researchers and scholars. A valuable introduction to Gissing s work, it claims a prominent place for him in fin-de-sihcle Victorian literature.

Approaching its subject both contextually and comparatively, George Gissing and the Woman Question reads Gissing's novels, short stories and personal writings as a crux in European fiction's formulations of gender and sexuality. The collection places Gissing alongside nineteenth- and twentieth-century authors as diverse as Paul Bourget, Ella Hepworth Dixon, May Sinclair and Theodore Dreiser, theorizing the ways in which late-Victorian sexual difference is challenged, explored and performed in Gissing's work. In addition to analyzing the major novels, essays make a case for Gissing as a significant short story writer and address Gissing's own life and afterlife in ways that avoid biographical mimetics. The contributors also place Gissing's work in relation to discourses of subjectivity and intersubjectivity, identity, public space, class and labour, especially literary production. Increasingly viewed as a key chronicler of the late Victorian period's various redefinitions of sexual difference, Gissing is here recognized as a sincere, uncompromising chronicler of social change.

'My next clear recollection is that we were prisoners at we knew not what depth beneath the moon's surface ... At the village of Lympne, on the south coast of England, the 'most uneventful place in the world' the failed playwright Mr Bedford meets the brilliant inventor Mr Cavor, and together they invade the moon. Dreaming respectively of scientific renown and of mineral wealth, they fashion a sphere from the gravity-defying substance Cavorite and go where no human has gone before. They expect a dead world, but instead they find lunar plants that grow in a single day, giant moon-calves and the ant-like Selenites, the super-adapted inhabitants of the Moon's utopian society. The First Men in the Moon is both an inspired and imaginative fantasy of space travel and alien life, and a satire of turn-of-the-century Britain and of utopian dreams of a wholly ordered and rational society.

H. G. Wells is one of the most widely-read writers of the twentieth century, but until now the aesthetics of his work have not been investigated in detail. Maps of Utopia tells the story of Wells's writing career over six decades, during which he produced popular science, educational theory, history, politics, prophecy, and utopia, as well as realist, experimental, and science fiction. This book asks what Wells thought literature was, and what he thought it was for. H. G. Wells formulated a literary aesthetics based on scientific principles, designed to improve the world both in the present and for future generations. Unlike Henry James, with whom he famously argued, Wells was not content simply to let literary art be, for its own sake: he wanted to make art instrumental in improving the lives of its readers, by bringing about the founding the World State that he predicted was man's only alternative to self-destruction. Such a project differed radically from the aims of Wells's late-Victorian and his Modernist contemporaries - with consequences for the nature both of Wells's writing and for his subsequent critical reception. Maps of Utopia begins with the late-Victorian debate about the uses of effect of reading, especially reading fiction, that followed the mass literacy of the 1870-71 Education Acts. It considers Wells's best known scientific romances, such as The Time Machine and The War of the Worlds, and important social novels such as Tono-Bungay. It also examines less well-known texts such as The Sea Lady, Boon and Wells's journalism and political writings. This study closes with his cinematic collaboration The Shape of Things to Come, and The Outline of History, Wells's best-selling book in his own lifetime.

H. G. Wells is one of the most widely-read writers of the twentieth century, but until now the aesthetics of his work have not been investigated in detail. Maps of Utopia tells the story of Wells's writing career over six decades, during which he produced popular science, educational theory, history, politics, prophecy, and utopia, as well as realist, experimental, and science fiction. This book asks what Wells thought literature was, and what he thought it was for. H. G. Wells formulated a literary aesthetic based on scientific principles, designed to improve the world both in the present and for future generations. Unlike Henry James, with whom he famously argued, Wells was not content simply to let literary art be, for its own sake: he wanted to make art instrumental in improving the lives of its readers, by bringing about the founding of the World State that he predicted was man's only alternative to self-destruction. Such a project differed radically from the aims of Wells's late-Victorian and his Modernist contemporaries - with consequences both for the nature of his writing and for his subsequent critical reception. Maps of Utopia begins with the late-Victorian debate about the effect of reading, especially reading fiction, that followed the mass literacy of the 1870-71 Education Acts. It considers Wells's best known scientific romances, The Time Machine and The War of the Worlds, and important social novels such as Tono-Bungay. It also examines less well-known texts, including The Sea Lady, Boon, and Wells's journalism and political writings. This study closes with his cinematic collaboration The Shape of Things to Come, and The Outline of History, Wells's best-selling book in his own lifetime.