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By David Payne (auth.)
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Additional info for The Reenchantment of Nineteenth-Century Fiction: Dickens, Thackeray, George Eliot, and Serialization
Sample text
With this new generic pattern established, Dickens felt free to abandon the original scheme of Pickwick Club transcription for good (177-8), moving on to the Eatanswill election, his most pointed political satire to date, excerpted in seven different London papers between 10 and 21 August. 33 But the very success of the Pickwick mutation would create its own species of problems in the unstable London literary field of the late 1830s. Throughout the decade, the Victorian literary market was determined by the costly three-decker (31s.
Having burst into the world in "all his might and glory" (PL 1: 132) wearing the "abstracted gaze" of the religious icon (PP 84), his tights and gaiters inspiring "involuntary awe and respect" from his companions (69), Mr. " 31 Sam is a representation of labor reduced to a position of dependency and marginality in such a society, as symbolized in the valet - what Dickens calls a "faithful" even if "eccentric functionary" (PP 877, 151). And between these two literary incarnations must remain, as the serial's closing sentence fervently proclaims, "a steady and reciprocal attachment, which nothing but death will sever" (877).
50 By the end of September, Dickens and Forster had not only forced Richard Bentley to accept the "Oliver Twist" series as one of the two novels specified in the agreement of August 1836 (the other being the unfinished Gabriel Vardon, published years later with Chapman and Hall as Barnaby Rudge), but had also wrested back a future interest in half its copyright, a reversion that was to take place three years after the novel's completion. As The Cockney and the Prostitute 37 Robert Patten was the first to emphasize, these terms were entirely unprecedented in the market for new novels.