Victoria's coronation in 1837 signals the official inception of the literary form that we now designate the Victorian novel, just as her death in 1901 marks its official demise. However, for at least a century before the start of the period in literary history we term “Victorian,” the British novel had enjoyed cultural visibility and weathered critical scrutiny, so in a sense there was nothing momentously new about the novel in 1837. But critical discussion generated by the genre's increasing popularity in a profitable marketplace acquired a distinctive intensity as authors and literary intellectuals initiated an almost century-long debate about the moral and aesthetic nature of the novel. The central questions that fueled this debate tended to revisit with some regularity issues of whether novels should retain their racy affiliations with romance, teach uplifting moral lessons, educate curious readers about a rapidly changing society, or aim for a narrative singularity that would provide aesthetic correlation for the domestic realism that ruled the form for most of the period. By the end of the nineteenth century, after decades of cultural rule, novel-reading itself had become identified with those attitudes we now term “Victorian” (primarily to do with sexual repression, stultifying middle-class family life, and cramped vistas for women's lives), then being vigorously rejected. In George Gissing's The Odd Women (1893), for example, the feminist character Rhoda Nunn traces the defection from women's causes on the part of a Miss Royston to novel-reading, asking contemptuously, “What is more vulgar than the ideal of novelists?”