Abstract
Despite the increased presence of children’s and Young Adult (YA) fiction in both literary scholarship and university syllabuses, and an increasing number of YA titles employing a Victorian setting, neo-Victorian scholarship to date has paid relatively little attention to YA fiction. This chapter offers a critical assessment of the emerging genre of neo-Victorian YA writing in relation to its engagement with the nineteenth-century sensation novel. It considers the manner in which contemporary YA writers employ the themes, characteristics, and tropes of Victorian sensation fiction and contends that the earlier form can be read as an example of nineteenth-century YA fiction. An examination of neo-Victorian YA fiction to date, its relationship to sensation fiction, and its role in the contemporary literary marketplace is followed by a detailed analysis of two-key neo-sensation YA novels: Philip Pullman’s The Ruby in the Smoke (1985) and Mary Hooper’s Fallen Grace (2010).
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Notes
- 1.
The Lie Tree is not the first YA or neo-Victorian novel to win Costa’s Book of the Year award. These genres are reasonably well represented in the award’s history—a reflection of the emphasis on popular fiction as well as critical acclaim. The last children’s book to win the main award was Philip Pullman’s The Amber Spyglass in 2001. Penelope Lively’s neo-Victorian novel A Stitch in Time won the Children’s award in 1976.
- 2.
Mark Brown, ‘Frances Hardinge’s The Lie Tree wins Costa book of the year 2015’, The Guardian (26 January 2016), n.p.
- 3.
- 4.
See Chap. 5, and Marie-Luise Kohlke and Christian Gutleben, eds, Neo-Victorian Tropes of Trauma: The Politics of Bearing After-Witness to Nineteenth-Century Suffering (Amsterdam: Rodopi, 2010).
- 5.
Claudia Nelson , Foreword to Sonya Sawyer Fritz and Sara K. Day, eds., The Victorian Era in Twenty-First Century Children’s and Adolescent Literature and Culture (Abingdon: Routledge, 2018), p. xi. Other critical examinations of neo-Victorian YA fiction to date include discussions of Philip Pullman’s Sally Lockhart series (see below); Susan Reynold’s ‘ Dumbledore in the Watch Tower: Harry Potter as Neo-Victorian Narrative’ in Diana Patterson, ed., Harry Potter’s Worldwide Influence (Newcastle: Cambridge Scholars, 2009, pp. 271–292); and Margaret Stetz’s article ‘The ‘My Story’ Series: A Neo-Victorian Education in Feminism’, Neo-Victorian Studies, 6:2 (2013), pp. 137–151.
- 6.
See, for example, Anne Morey and Claudia Nelson, eds., The Child in Neo-Victorian Arts and Discourse: Renegotiating Nineteenth-Century Concepts of Childhood, Special Issue, Neo-Victorian Studies, 5:1 (2012).
- 7.
See Michael Cart, ‘From Insider to Outsider: The Evolution of Young Adult Literature’ in Voices from the Middle. 9:2 (2001), pp. 95–97, and Alleen Pace Nilsen and Kenneth L. Donelson, Literature for Today’s Young Adults, sixth edition. New York: Longman, 2001, pp. 3–4.
- 8.
On ‘crossover’ fiction, see Michael Cart, Young Adult Literature: From Romance to Realism (Chicago: American Library Association, 2010), Chap. 8, ‘So, How Adult is Young Adult? The Crossover Conundrum’, pp. 111–122.
- 9.
Some critics include YA fiction in the category of children’s literature (see, for example, Catherine Butler and Hallie O’Donovan , eds., Reading History in Children’s Books [Basingstoke: Palgrave Macmillan, 2012], p. 186.
- 10.
Nilsen and Donelson, Literature for Today’s Young Adults, pp. 32–33.
- 11.
Anon., Review of The Moonstone, The Spectator (July 25 1868), p. 881.
- 12.
Examples of ethnic diversity in sensation fiction include representations of the Italian Fosco in The Woman in White, Indians in The Moonstone (1868), and the interracial marriage referenced in Collins’s Poor Miss Finch (1872), although many of these representations are far from positive. See Patrick Brantlinger, ‘Class and Race in Sensation Fiction’, in Gilbert, ed., A Companion to Sensation Fiction, pp. 430–441. On homoeroticism and sensation fiction, see Ross G. Forman, ‘Queer Sensation’ in Gilbert, ed., A Companion to Sensation Fiction, pp. 414–429.
- 13.
See, for example, Alice Trupe, Thematic Guide to Young Adult Literature (Westport: Greenwood Press, 2006), p. vi.
- 14.
Cart, Young Adult Literature, p. 3.
- 15.
The storyline involving Snape and Harry’s parents, Lily and James, also suggests Wuthering Heights may be an intertext for Rowling’s novels.
- 16.
These include Palgrave Macmillan’s Critical Approaches to Children’s Literature, Ashgate’s Studies in Childhood, and Routledge’s Children’s Literature and Culture.
- 17.
Modules on YA literature are available at Cardiff, Hull, Newcastle, Oxford, and the Open University, amongst others.
- 18.
These include the Michael L. Printz award and the Bookseller YA Book Prize, amongst others.
- 19.
See Janice M. Allan, ‘The Contemporary Response to Sensation Fiction’ in Andrew Mangham, ed., The Cambridge Companion to Sensation Fiction (Cambridge: Cambridge University Press, 2013), pp. 85–98.
- 20.
J. Donald Adams, Speaking of Books and Life (Holt, Rinehart and Winston, 1965), pp. 251.
- 21.
Maia Pank Mertz, ‘The New Realism: Traditional Cultural Values in Recent Young-Adult Fiction’, The Phi Delta Kappan, 60:2 (October 1978) [pp.101–105], p. 101.
- 22.
On the various religious reactions to the novels, see Laura Feldt , ‘Harry Potter and Contemporary Magic: Fantasy, Literature, Popular Culture, and the Representation of Religion’ , Journal of Contemporary Religion, 31: 1 (01/2016), pp. 101–114.
- 23.
See Jenn Northington , ‘The Religious Controversy Surrounding Philip Pullman’s His Dark Materials’ (24 September 2013), http://www.tor.com/2013/09/24/banned-books-week-philip-pullmans-his-dark-materials/.
- 24.
See Nicholas Lezard , ‘Harry Potter’s big con is the prose’, The Guardian (17 July 2007), and Sarah Rainey, ‘You can’t be serious about Harry Potter!’, The Telegraph, 18 May 2012, n.p.
- 25.
See Emma Brockes and Peter Walker, ‘Stephen King slams Twilight franchise as “tweenage porn”’, The Guardian, 21 September 2013, n.p.
- 26.
See, for example, Danielle N. Borgia , ‘Twilight: The Glamorization of Abuse, Codependency, and White Privilege’, Journal of Popular Culture, 47:1 (Feb 2014), pp. 153–173.
- 27.
Virginia Woolf, ‘George Eliot’, Times Literary Supplement, 20 November 1919, pp. 657–658.
- 28.
Q. D. Leavis, Fiction and the Reading Public, p. 6.
- 29.
E. B., ‘The Sensation Novel’, The Argosy (1874), p. 138, my emphasis.
- 30.
Oliphant, ‘Novels’, September 1867, p. 259, my emphasis.
- 31.
Anon., ‘Our Female Sensation Novelists’, p. 212, my emphasis.
- 32.
Ibid., p. 231.
- 33.
Charles Knight, Passages of a Working Life During Half a Century (London: Bradbury & Evans, 1865), pp. 180–181, my emphasis.
- 34.
H. L. Mansel, ‘Sensation Novels’, London Quarterly Review (April 1863), p. 255.
- 35.
Nilsen and Donelson, Literature for Today’s Young Adults, p. 3.
- 36.
Wilkie Collins, No Name (Oxford: Oxford University Press, 2008), p. 14.
- 37.
Some qualification is needed here. Goodreads is not representative of the broader population in terms of age and gender : figures show the majority of those using the site are under 45 (almost 70%), and women (almost 70%). The largest group of users appear to be women aged 18–24 (18%), although these stats do not include users under the age of 18 (see https://www.statista.com/statistics/490362/gb-online-audience-of-goodreads-com-2015-by-age-group-and-gender/). In terms of nationality, statistics from June–July 2017 show 25.1m visits to the site from the US, and 34.7m from the rest of the world, while the UK is ‘the largest market for Goodreads in Europe’ (Lisa Campbell, ‘Amazon Integrates Goodreads into UK Devices’, The Bookseller [September 2 2015], n.p.).
- 38.
Joanne Brown and Nancy St. Clair , The Distant Mirror: Reflections on Young Adult Historical Fiction (Lanham: The Scarecrow Press, 2006), p. 5.
- 39.
Pullman originally wrote this first novel as a school play, while working as a teacher. This link with the theatre is evident in some of the dramatic elements of the narrative, and suggests a parallel with the Victorian sensation novel and its association with nineteenth-century melodrama . It was followed by The Shadow in the North (1986), The Tiger in the Well (1991), and The Tin Princess (1994). Sally plays only a minor role in the final novel.
- 40.
Philip Pullman, The Ruby in the Smoke (London: Scholastic, 2004), p. 8.
- 41.
Examples of lawyers in sensation fiction include Mr Gilmore in The Woman in White and Archibald Carlyle in East Lynne . Actresses appear in several of Braddon’s novels, including Rupert Godwin (1867) and A Lost Eden (1904). The double is almost a defining feature of the genre (see Chap. 2). Twins appear in Braddon’s The Trail of the Serpent (1861) and Collins’s Poor Miss Finch (1872).
- 42.
Other sensation novels also feature shipwrecks, including Wood’s Trevlyn Hold (1864), Braddon’s Joshua Haggard (1876), and Haggard’s Mr Meeson’s Will (1888).
- 43.
There are also strong echoes of Conan Doyle’s The Sign of Four , for which The Moonstone also serves as a key intertext.
- 44.
Dennis Butts, ‘’Tis a Hundred Years Since: G. A. Henty’s With Clive in India and Philip Pullman’s The Tin Princess’ in Ann Lawson Lucas, ed., The Presence of the Past in Children’s Literature (Westport: Praeger, 2003), p. 85.
- 45.
This is heavily influenced by Dickens’s son Charles’s Dictionary of London (1879), extracts of which are included in an appendix to the thirtieth anniversary edition of Pullman’s novel.
- 46.
Pullman’s interest in the penny dreadful is also evident in his 1989 graphic novel for children, Spring-Heeled Jack , which reinvents a popular Victorian urban legend featured in several penny dreadfuls of the period, including Colin Henry Hazelwood’s Spring-heel’d Jack, The Terror of London (1867).
- 47.
W. F. Rae , ‘Sensation Novelists: Miss Braddon’, North British Review, 43 (1865), p. 204.
- 48.
Gilbert, Introduction, A Companion to Sensation Fiction, p. 3.
- 49.
Andrew King, ‘“Literature of the Kitchen”: Cheap Serial Fiction of the 1840s and 1850s’ in Gilbert, ed., A Companion to Sensation Fiction, p. 40.
- 50.
See, for example, The Black Band (1861–1862).
- 51.
Mary Elizabeth Braddon, The Doctor’s Wife (Oxford: Oxford University Press, 2008), p. 47.
- 52.
Characters murdered include Captain Lockhart, Mr Marchbanks, Mr Hopkins, Mr Selby, the Maharajah, Mr Berry, and Matthew Bedwell.
- 53.
These include the death of Mr Higgs, scared to death by the mention of ‘the seven blessings’ (4–5), as well as Mrs Holland’s mad jump into the Thames in pursuit of the ruby (192).
- 54.
In the next novel in the series, The Shadow in the North, Fred has established a private detective agency.
- 55.
Wilkie Collins, The Moonstone (Peterborough, Ontario: Broadview, 1999), p. 118.
- 56.
On menstruation and The Moonstone, see Andrew Mangham , Violent Women and Sensation Fiction, p. 80. For a useful overview of critical approaches to the novel, see Steve Farmer , Introduction to The Moonstone, pp. 9–34.
- 57.
Anca Vlasopolos, ‘Family Trauma and Reconfigured Families: Philip Pullman’s Neo-Victorian Detective Series’ in Kohlke and Gutleben, eds., Neo-Victorian Families, p. 304.
- 58.
Susan Zieger, ‘Opium, Alcohol, and Tobacco: The Substances of Memory in The Moonstone’ in Gilbert, ed., A Companion to Sensation Fiction, p. 208.
- 59.
For those sensation heroines who prove too subversive, of course, death concludes their narratives.
- 60.
In The Shadow in the North, Sally does agree to marry Fred, but he dies before the event, leaving her pregnant with his child.
- 61.
Butler and O’Donovan, Reading History in Children’s Books, p. 73.
- 62.
Pykett, Wilkie Collins, p. 156.
- 63.
A. D. Hutter, ‘The Implications of Detective Fiction’ in Pykett, Wilkie Collins: New Casebooks, p. 180.
- 64.
Susan Zieger suggests Collins deliberately situates the history of the moonstone around the siege of Seringapatum rather than the Rebellion as the latter remained in living memory, so ‘he had to gingerly approach English fury against “savage” Indians in the aftermath of the Mutiny’ (‘Opium, Alcohol, and Tobacco’, p. 210). Pullman’s narrative employs the term ‘Mutiny’, in contrast to the now preferred terms ‘rebellion’ or ‘revolt’, due to the former’s association with colonial discourses. On the terminology used in relation to events in India in 1857, see Nicola Frith , ‘French Counter-Narratives: Nationalisme, Patriotisme, and Révolution’ in Shaswati Mazumdar, ed., Insurgent Sepoys: Europe Views the Revolt of 1857 (London: Routledge, 2011), pp. 43–62.
- 65.
Elizabeth Ho, Neo-Victorianism and the Memory of Empire (London: Continuum, 2012), p. 11.
- 66.
On the use of diaries in neo-Victorian fiction, see Kym Brindle, Epistolary Encounters in Neo-Victorian Fiction: Diaries and Letters (Basingstoke: Palgrave Macmillan, 2014).
- 67.
See Marie-Luise Kohlke and Christian Gutleben, eds., Neo-Victorian Cities: Reassessing Urban Politics and Poetics (Amsterdam: Rodopi, 2015).
- 68.
Rosario Arias, ‘(Spirit) Photography and the Past in the Neo-Victorian Novel’, LIT: Literature, Interpretation, Theory, 19:1 (2008), pp. 92–107; Mitchell, History and Cultural Memory in Neo-Victorian Fiction, especially Chap. 6.
- 69.
Mitchell, History and Cultural Memory in Neo-Victorian Fiction, p. 144.
- 70.
The novel was nominated for the Carnegie Medal, and some reviewers drew comparisons with Pullman’s earlier novel. The Times review noted, ‘Not since Philip Pullman’s The Ruby in the Smoke has there been such a gorgeous evocation of Victorian life’ (5 June 2010, n.p.).
- 71.
In representing unmarried mothers, both narratives inevitably touch on the issue of sexuality —a subject explored extensively in both YA and neo-Victorian literature, often marking a stark departure from mainstream Victorian novels, in which the subject is alluded to only in implicit, often ambiguous terms. Other examples of this trend in neo-Victorian YA fiction include Newbery’s Set in Stone and Eagland’s Wildthorn .
- 72.
Lily bears some similarity to Sally in Collins’s The Fallen Leaves (1879).
- 73.
Mary Hooper, Fallen Grace (London: Bloomsbury, 2010), p. 293.
- 74.
Butler and O’Donovan, Reading History in Children’s Books, p. 7.
- 75.
Each of Pullman’s four novels in the series is prefaced by a short section detailing ‘Certain items of historical interest’ for the year in which the book is set. These generally do not have a direct bearing on the story, suggesting they are there to educate the (YA) reader in the broader Victorian context.
- 76.
Wildthorn reworks the asylum plot from The Woman in White, and, with its emphasis on lesbian desire, seems to position Waters’s Fingersmith as another of its key intertexts.
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Cox, J. (2019). Repackaging the Sensation Novel: Neo-Victorian Young Adult Fiction. In: Neo-Victorianism and Sensation Fiction. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-29290-4_4
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