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• W2115341034 abstract "Mary Barton and the Dissembled Dialogue1 Roland Négso ι. The historical changes in the reception of Elizabeth Gaskell's Mary Barton: A Tale of Manchester Life (first published in 1848) reveal a very conspicuous and, seen from the perspective of today's theoretical developments , a rather predetermined tendency. The mid-nineteenth-century middle -class reception of the work, in spite of quite a few hostile reviews from the conservative press (Hopkins 14), was so enthusiastic that it soon became a veritable best seller (3). Unfortunately, we have very little evidence of contemporaneous working-class readings from this period (Recchio 8-11), so we are left with the assumption that there is something in Mary Barton that resonated fairly well in the Victorian bourgeois consciousness and conscience. This positive estimation was much tempered by later Marxist readings, the most representative of which is probably to be found in Raymond Williams' Society and Culture. Williams acknowledges (and to a certain degree even praises) Gaskell's imaginative and sympathetic identification with the working-class, yet he also charges that the structural and formal inconsistencies of the novel (most tellingly revealed by the shift of title and focus from John to Mary Barton) arrest the flow of sympathy with which she began (89) and that, by the end of the text, it is all too clear that Gaskell's position is that of the humanitarian bourgeois pestered by the fear over working-class violence (87-91). As the latest phase of Mary Barton's reception seems to prove, howJNT : Journal of Narrative Theory 33.2 (Summer 2003): 163-183. Copyright © 2003 by JNT: Journal of Narrative Theory. 164 JNT ever, the exact political force of the novel is rather difficult to assess. Recent critical responses to Gaskell's politics stretch over the whole spectrum of possible assessments: for example, Macdonald Daly claims that the narrative is one which routinely attempts to neutralize its own transgressions (xvi) and in the final analysis Gaskell's essential complicity with laissez-faire is demonstrable (xviii); Deirdre d'Albertis argues that it is characterized by a conservatism with a vengeance (8); Marjorie Stone attributes more subversive political force to it when she writes that [Gaskell] subverts the hegemony of middle-class discourse that empowers her to speak (176); Anne Graziano, writing about Mary Barton and Charles Kingsley's Alton Locke, says that if we attend more closely to the patterns of the heroes' dismissal, we will see that the narratives are more complicated than the transparent expressions of the writers' political conservatism (136). No matter where these critics tend to put the emphasis, the common element in all of these readings is an alternating movement between radicalism and conservatism. This difficulty of political judgment is, of course, by no means unique to Gaskell's text; rather, it appears to be a necessary consequence of the intersection of the aesthetic and the political. As aesthetic and political judgments get tangled up with one another, we are reminded that neither politics nor the aesthetic is a domain where easy judgments are possible. What makes Mary Barton a rather interesting case is that its earlier reception (both bourgeois and Marxist) appears to be based precisely on the stability of these judgments, whereas more recent readings all tend (either explicitly or implicitly) to question these stabilities. The common element in a significant amount of recent readings of the novel is the tendency to evaluate its politics through a reversal: the novel appears to be doing one thing, but in reality, it is actually doing the opposite. This duplicitous appearance (as both a political and aesthetic strategy) will be the central focus of my paper. I will use the concept of the dissembled dialogue to account for both the poetics and the politics of the text. I borrow the concept of dissembling as a critical tool for a reading of Gaskell's text from Deirdre d'Albertis, who argues that Gaskell's dissembling fictions use several strategies to create a poetics of narrative dissimulation (2): for example, besides other modes of political or social resistance, Gaskell relies on plot devices of disguise and doubling, and representations of withholding or misrepre- Mary Barton and the..." @default.
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• W2115341034 title "<i>Mary Barton</i> and the Dissembled Dialogue" @default.
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• W2115341034 doi "https://doi.org/10.1353/jnt.2011.0052" @default.
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