This 1999 study addresses the question of why ideas of ancestry and kinship were so important in nineteenth-century society, and particularly in the Victorian novel. Through readings of a range of literary texts, Sophie Gilmartin explores questions fundamental to the national and racial identity of Victorian Britons: what makes people believe that they are part of a certain region, race or nation? Is this sense of belonging based on superstitious beliefs, invented traditions, or fictions created to gain a sense of unity or community? As Britain extended her empire over foreign nations and races, questions of blood relations, of assimilation and difference, and of national and racial definition came to the fore. Gilmartin's study shows how the ideas of ancestry and kinship, and the narratives inspired by or invented around them, were of profound significance in the construction of Victorian identity.

This 1999 study addresses the question of why ideas of ancestry and kinship were so important in nineteenth-century society, and particularly in the Victorian novel. Through readings of a range of literary texts, Sophie Gilmartin explores questions fundamental to the national and racial identity of Victorian Britons: what makes people believe that they are part of a certain region, race or nation? Is this sense of belonging based on superstitious beliefs, invented traditions, or fictions created to gain a sense of unity or community? As Britain extended her empire over foreign nations and races, questions of blood relations, of assimilation and difference, and of national and racial definition came to the fore. Gilmartin's study shows how the ideas of ancestry and kinship, and the narratives inspired by or invented around them, were of profound significance in the construction of Victorian identity.

‘No one respected him. No one! His very wife thought that he was a lunatic. And now he had been publicly branded as a thief; and in all likelihood would end his days in a gaol …’

When Reverend Josiah Crawley, the impoverished curate of Hogglestock, is accused of theft it causes a public scandal, sending shockwaves through the world of Barsetshire. The Crawleys desperately try to remain dignified while they are shunned by society, but the scandal threatens to tear them, and the community, apart.

Drawing on his own childhood experience of genteel poverty, Trollope gives a painstakingly realistic depiction of the trials of a family striving to maintain its standards at all costs. With its sensitive portrayal of the proud and self-destructive figure of Crawley, this final volume is the darkest and most complex of all the Barsetshire novels.

• with a new introduction, notes and a Trollope chronology •

EDITED BY SOPHIE GILMARTIN

This critical study of Hardy's short stories provides a thorough account of the ruling preoccupations and recurrent writing strategies of his entire corpus as well as providing detailed readings of several individual texts. It relates the formal choices imposed on Hardy as contributor to "Blackwood's Magazine" and other periodicals to the methods he employed to encode in fiction his troubled attitude towards the social politics of the West Country, where most of the stories are set. No previous criticism has shown how the powerful challenges to the reader mounted in Hardy's later stories reveal the complexity of his motivations during a period when he was moving progressively in the direction of exchanging fiction for poetry.

Features

*The only book to provide comprehensive criticism of Hardy's entire output of short stories.

*The provision of extremely full, extremely detailed, close readings of a number of key stories enhances the book's attractiveness as a potential teaching resource.

*Draws on the work of social historians to make clear the background of social and political unrest in Dorset that is partly uncovered and partly hidden in Hardy's portrayals of his fictional Wessex.

*Offers fascinating insights into Hardy's near-obsession in his mature phase with the marriage contract, and with its legal binding of erratic men and women.

Provides a comprehensive criticism of Hardy's entire output of short stories This critical study of Hardy's short stories provides a thorough account of the ruling preoccupations and recurrent writing strategies of his entire corpus as well as providing detailed readings of several individual texts. It relates the formal choices imposed on Hardy as contributor to Blackwood's Magazine and other periodicals to the methods he employed to encode in fiction his troubled attitude towards the social politics of the West Country, where most of the stories are set. No previous criticism has shown how the powerful challenges to the reader mounted in Hardy's later stories reveal the complexity of his motivations during a period when he was moving progressively in the direction of exchanging fiction for poetry. Key Features The only book to provide comprehensive criticism of Hardy's entire output of short stories The provision of extremely full, extremely detailed, close readings of a number of key stories enhances the book's attractiveness as a potential teaching resource Draws on the work of social historians to make clear the background of social and political unrest in Dorset that is partly uncovered and partly hidden in Hardy's portrayals of his fictional Wessex Offers fascinating insights into Hardy's near-obsession in his mature phase with the marriage contract, and with its legal binding of erratic men and women