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• W225625404 abstract "John O. Jordan. Supposing Bleak House. Victorian Literature and Culture Series. Ed. Jerome J. McGann and Herbert F. Tucker. Charlottesville and London: U of Virginia P, 2011. $35. It is increasingly difficult to find monographs devoted to the study of a single work or novel. Casebooks, companions, and multi-authored essay collections covering several works in an author's oeuvre are useful and popular, but the single-work monograph is a less common form of academic publication for various practical and economic reasons. John O. Jordan is not the first to devote a book to Bleak House, but considering the numerous studies focusing exclusively on, for example, Eliot's Middlemarch, Dickens's novel has not attracted as much attention as might be expected, despite its encyclopaedic scope and literary power. Certainly, Bleak House merits a new book-length study, and Jordan takes up the challenge exceptionally well. Jordan's Supposing Bleak House offers the best of two worlds: it develops previous thoughts and readings, thus establishing a clear lineage with the novel's critical history, but also provides refreshing insights about Esther's voice and subjectivity, the novel's illustrations, its primal scenes of birth, death, and mother-daughter reunion, Dickens's references to haunting episodes in his life, and the allegorical resonances of a spectral text that retrieves the ghosts of England's historical past and re-creates them in the form of the novel's many restless undead. opening chapter, titled Voice, dives straight into one of the most unsettled debates surrounding the novel. Bleak House is renowned as a story told from the perspective of two narrators, the first, which Jordan calls the unnamed present-tense narrator, and the second, which is the character Summerson. Much discussion has centered on and the perceived coyness with which she presents herself to readers as an angel of the house. Jordan has a clear revisionist aim to overcome the problem which critics have had with Esther, and he fulfils it by reading Esther, not (as she tends to be read) as a woman of many faces, but as a woman of many voices. His voice-oriented approach offers a way out of the critical conundrum by drawing a clear distinction between the voices of Summerson and Woodcourt. While Summerson's voice is sentimental and feeble, Woodcourt, looking back on life as a married woman after a seven-year lapse, has a more powerful voice, which struggles to articulate her inner conflicts and her descent into darker, terrifying regions of psyche (73). It is this voice which needs to be given more attention. While it is not always possible to tell which Esther is speaking at a given moment of the text, the complex layering of temporalities (5), and stylistic and syntactical features unique to different voices, give vital clues about the speaker's identity, allowing access into the mind of the tormented bastard child, the woman repressing nightmarish past by dutiful behavior, and the retrospective narrator striving for a better understanding of unconscious than earlier selves. Jordan's sensitivity to Esther's repressed fears is enhanced by the psychoanalytic framework that pervades his reading of Bleak House. His book incorporates Freud's seminal theories of trauma, while also moving beyond Freud, situating the trauma that divides from mother Lady Dedlock within the Lacanian and post-Lacanian theory of Robert Stolorow, Cathy Caruth, and Andre Green. Green's essay, The Dead Mother, which contends that trauma for mother and child originates from the emotional, rather than literal, death of the mother, is a fruitful point of departure for a sophisticated study of and Lady Dedlock's relationship, a relationship characterized by their mutual affliction of 'blank depression' (52), which is visible in Lady Dedlock's frigid public mask and in Esther's conjuring of doll and companion Ada Clare as imagos of 'dead' mother. …" @default.
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• W225625404 date "2011-12-01" @default.
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• W225625404 title "John O. Jordan. Supposing Bleak House" @default.
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