Dinah Birch is Emeritus Professor of English at the University of Liverpool. She has written extensively on John Ruskin, as well as Dickens, Tennyson and the Brontës, and is the general editor of the Oxford Companion to English Literature. Anthony Trollope: A Very Short Introduction is available now.
There are good reasons, and a few bad ones, for lifting minor characters out of famous texts and putting them centre-stage. One bad reason might be that refiguring a large reputation quietly amplifies your own. Shakespeare’s cultural authority has made him a tempting source, but writers who provide Shakespeare’s marginal presences with another chance to speak also aim to make...
Freud takes it for granted that masculinity is the defining human condition, that all children begin life by imagining themselves as little men. When girls get round to noticing their lack of a penis and have to abandon fantasies of maleness, they feel envy and a lasting sense of alienation. Catherine Robson acknowledges and dismisses Freud and Lacan as forming ‘part of the continuing...
It is hard to make a living from poetry. Lavinia Greenlaw has turned her hand to all manner of activities to support her work – publishing, teaching, arts administration, posts as writer-in-residence. These haven’t just been ways of paying the bills: her imagination has been cultivated by dealing with institutions. Greenlaw’s writing fuses feeling with lucid observation,...
Andrew Maunder’s introduction to his new edition of Ellen Wood’s chronicle of scandalous goings-on among the Victorian middle classes claims that East Lynne may be ‘one of the most famous unread works in the English language’. Very possibly. Yet it was spectacularly successful in its day, and its popularity has turned out to be more durable than that of most publishing...
Tim Hilton’s foreword to the concluding volume of his biography of Ruskin is intimate and magisterial in a way that would seem presumptuous in anyone else. But Hilton has worked with Ruskin since the early 1960s and no one has a deeper understanding of either him or his writing. In the first volume, published in 1985, Hilton made it clear that the later life was to be the real focus of his biography: ‘I believe that Ruskin was a finer writer and, if I dare say so, a better man, in the years after 1860 and especially in the years after 1870.’ Still bolder was the claim that Fors Clavigera (1871-84), then little valued and rarely read, was Ruskin’s masterpiece. Both claims are made good in this book, which ought to reshape Ruskin studies.‘
It has been respectable for some while now to admit to being bored by the huge, flat, ‘pure’ abstracts on the white walls of the museums of modern art. And yet non-representational...
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