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• W4385993344 abstract "Reviewed by: On Style in Victorian Fiction ed. by Daniel Tyler Robert L. Patten (bio) Daniel Tyler, editor. On Style in Victorian Fiction. Cambridge UP, 2022. Pp. xi + 315. $99.99. ISBN 978-1-108-42751-7 (hb). What IS style in fiction? Hard to say. In most Victorian fiction, authors still observe the implicit contract with readers that there will be a beginning and an end. The plot will make the “in between” concordant with both terminals. Bulwer Lytton has one of the most famous openings: “It was a dark and stormy night.” And Thackeray closed Vanity Fair by drawing the curtain tight: “Come children, let us shut up the box and the puppets, for our play is played out.” Dickens pretzelled the two poles: “Marley was dead: to begin with.” Style is the vehicle for the journey, the way the “in between” is told. The carriage may be plain or fancy, obtrusive or elegantly refined. But in the nineteenth century, as the wonders of God’s nature and Hell’s passions transitioned into the universe of bourgeois work, the ideal of clear prose expressing the correspondence between word and material thing was widely held. Except, of course, that many of the most celebrated authors also allowed the immaterial to be present, in some guise. In a key introductory piece in this collection, “Novel Poetics,” Corinna Russell deftly illustrates the tensions between the “handcraft” narrative, applying mechanical or technical craftsmanship, and the “fine art of prose narrative,” “a higher form of mimesis” (24–25). The experience of getting from beginning to concordant end was consistently interrupted by ambiguities and uncertainties. Even Trollope, thought by many to pen a stolid, straight-forward narrative, based plot after plot on psychological uncertainties shifting and irresolvable. Take, as Philip Davis does in his essay on the “Characteristics of the Psychology of Grammar,” the dilemma Lady Mason’s lawyer has in defending her against forgery in Trollope’s Orley Farm. It arises (beginning) from a will (end) leaving property contested (middle): “He wished that he knew the truth in the matter, or rather he wished he could know whether or no she were innocent, without knowing whether or no she were guilty” (48). The route from start to finish is seldom straight. It is told, either by the [End Page 391] traveler or a story teller, to a receiver. And while, in many cases, asking the reader, rhetorically, what to think. Is that didactic? Sarah Allison parses interruptions of the mimetic illusion, in which we were comfortably ensconced, by seizing one moment in Middlemarch, when the narrator suddenly asks, “Why Always Dorothea?” How can breaking the fourth wall aid in making a realist novel credible, not just a story manipulated for preaching and teaching? To explore the topos of the journey further, Robert Douglas-Fairhurst explores ways transport – as psychic and mechanical – works in an astonishingly wide set of examples. Summoning Virginia Woolf, who proclaimed that the “formal railway line of sentence” identified Victorian fiction, he demurs: “While the mechanics of travel could be regarded as the grounds of realism against which excursions into fantasy could be measured, the experience of travel could also knock traditional genres out of their usual grooves” (83). He demonstrates that in Victorian fiction travel can also test the usual grooves of self: Dickens’s American Notes supplies many examples. There are so many ways the “real” can seem illusory, and vice versa. Material technology, however, does play its role in “style.” Telegraphy may seem “inimical to style in literature,” as David Trotter posits (93). But, following up on Richard Menke’s pathbreaking book on Telegraphic Realism, he elucidates the distinction in media studies between “medium” – “a very wide range of structures and processes … for the distribution of messages and meanings,” and “milieu” – “an experienceable environment” (99). Trotter provides an extensive analysis of coded material, linguistic, and somatic signal exchanges. Composed by functional, rather than expressive, means, they are “at once open and closed, shameless and hermetic: everything that style deplores, in life as in art. Never mind what’s in the message. Just get it through” (105). In his conclusion, he offers a sensitive and partially refutational..." @default.
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• W4385993344 title "On Style in Victorian Fiction ed. by Daniel Tyler (review)" @default.
• W4385993344 doi "https://doi.org/10.1353/dqt.2023.a904848" @default.
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