In what is surely his best-known “shocker” of the 1890s, Arthur Machen has one of his ubiquitous bachelor heroes (Clarke by name) try to warn another off his pursuit of the truth about a preternaturally dangerous femme fatale figure, a woman responsible for the hideous deaths of a number of English gentlemen. “I am,” he writes to his friend, “like a traveller who has peered over an abyss, and has drawn back in terror. What I know is strange enough and horrible enough, but beyond my knowledge there are depths and horrors more frightful still” (“Pan” 89). But to what “depths,” exactly, does the fearful Clarke refer? What “horrors”? And why, here as elsewhere in this text, do depth and horror seem so intimately interconnected? The tale in question, “The Great God Pan” (1890), bristles with multifarious horrors, to be sure. In the novella's opening episode, a mad scientist figure performs experimental brain surgery on a young woman (“a slight lesion in the grey matter, that is all,” he says to an over-scrupulous chum), causing her to “see the god Pan,” and reducing her to idiocy and death (“Pan” 62, 68). The bulk of the subsequent narrative concerns a sequence of seemingly unrelated tragedies – the mysterious death of one gentleman in London, a rash of particularly horrid suicides by a number of others, the demise of an English artist in Buenos Aires – which prove all to be connected to a single figure of monstrous evil, a woman who goes by the name of Helen Vaughn (among others). She is, it turns out, the offspring of the subject of the surgical experiment and Pan himself, and her own (forced) suicide at the end of the story leads to a gruesome tableau of bodily dissolution reminiscent of Poe's M. Valdemar (or, to update the reference, the gooey, B-movie slime Slavoj Žižek seems to have claimed in the name of the Lacanian Real).

Grant Allen's short novelThe Type-Writer Girl (1897) opens with a problem. In the first lines we are introduced to our narrator who, we are promptly told, is unemployed: “I was twenty-two and without employment. I would not say by this that I was without occupation. In the world in which we live, set with daisies and kingfishers and undeciphered faces of men and women, I doubt I could be at a loss for something to occupy me” (23; ch. 1). As the second half of this quotation suggests, our narrator is confident that this problem of employment is quite easy to solve, for all around is a world teeming with life, and as we learn by the start of the next paragraph, our narrator does indeed have an occupation, something to fill his/her time. Our narrator is a storyteller: “I cannot choose but wonder who each is, and why he is here. For one after another I invent a story. It may not be the true story, but at least it amuses me” (23; ch. 1). So the real problem, beyond the question of employment, emerges as a question of narrative subject. Who is this narrator, the subject of this first-person story? We do not even know if our narrator is male or female. It is as if he/she is lost amidst that sea of “undeciphered faces of men and women.” Connected to this problem of subject is also the question of form. The first-person point of view would suggest an autobiographical narrative. Yet any expectations of an autobiographical account are immediately undermined in chapter two when we learn that our narrator is named “Juliet Appleton.” This narrative subject does not match the novel's signed author, “Olive Pratt Rayner.” So we are again left with questions: what kind of narrative is this, who is the real subject of this story, what is the form of this narrative, and does our narrator find employment?

There is a central contradiction in human relationships with animals: as Erica Fudge notes, “We live with animals, we recognize them, we even name some of them, but at the same time we use them as if they were inanimate, as if they were objects” (8). Such a contradiction is also, of course, present in human interactions, in which power relations allow for the objectification of one human being by another. In an analysis of images and texts produced by the Royal Society for the Prevention of Cruelty to Animals (RSPCA) in the nineteenth-century, I want to examine the overlap in representations of animals and humans as subject to objectification and control. One common way of critiquing human treatment of animals within the RSPCA's journals, Animal World and Band of Mercy, was to have humans trade places with animals: having boys fantastically shrunk to the size of the animals they tortured, for example, or imagining the horrors of vivisection when experienced by humans. Such imaginative exercises were meant to defamiliarize animal usage by implying a shared experience of suffering: what was wrong for a human was clearly just as wrong for an animal. However, I argue that some of the images employed by the society suggest the opposite; instead of constructing animal cruelty in a new light, these images instead work to underline the shared proximity of particular humans with animals. In texts that focus specifically upon humans wearing animal bonds – reins, collars, and muzzles – the RSPCA's anti-cruelty discourse both critiqued the tools of bondage and, I suggest, invited the audience to see deep connections between animals and the humans taking their place. Such connections ultimately weaken the force of the animal/human reversal as an animal rights strategy, suggesting as they do that humans themselves often have use value in economies of labor, affect, and are subject to the same power relations that produce an animal as “animal.”

In 1839, the Constabulary Force Commission, created by Parliament to study the conditions of crime and policing beyond London and to make recommendations for jurisdictional reforms, published its findings in the First Constabulary Report. To illustrate for readers the necessity of establishing constabularies modeled after London's Metropolitan Police Force in counties and boroughs throughout England and Wales, Edwin Chadwick, utilitarian reformer and principal draftsman of the Report, interwove the Commission's recommendations with numerous testimonies from representatives of the so-called criminal classes that pervaded nineteenth-century society. These sometimes graphic confessions were calculated to shock as much as persuade, which made for popular reading, notwithstanding widespread political opposition to the Commission's proposals (Philips 69). Section twenty eight, for example, contains the account of “J– R–,” a nineteen-year-old ex-sailor from Manchester who had committed a series of petty larcenies before turning to more serious burglaries of homes and businesses, at which he became quite adept. This young-but-seasoned offender's confession included what were intended to be alarming revelations about the physical vulnerabilities of English houses. JR testified that he had “[f]ound none or very few difficulties in the way of committing crime. The readiness with which property was got . . . was an encouragement” (Lefevre, Rowan, and Chadwick 27). In recounting the details of his crimes (and citing anecdotal evidence from fellow thieves), he pointed out that most houses were entered easily with the use of skeleton keys or through cellar windows, and that householders and servants practiced few if any serious security precautions (27–28). JR concluded that he did “not know of any places or kinds of property so protected as to induce depredators to refrain from attacking them” but added, no doubt with pressure from the interviewer, that the “most important obstruction which could be placed in the way of depredations is a more efficient police” (29).

While illuminating and justifying the contemporary appreciation of Edward Bulwer's early novels, Richard Henry Dana discerns in his Harvard thesis of 1837 a Bulwerian strategy that he would employ himself in Two Years Before the Mast. Both the undergraduate thesis and Two Years derive from the experiences of Dana's famous voyage, which have led him to recognise the power of literature to exercise a moral force. In the practice of Bulwer, which Dana would seek to emulate, literature becomes a means for liberating voices that the predominating social forces have been hitherto suppressing.

The Cult of Beauty

CATHERINE MAXWELL

Imitating the Inimitable: Performing Charles Dickens's Life in Recent British Theatre

BENJAMIN POORE

“Famous Men and Fair Women”: Pre-Raphaelitism and Photography Reconsidered

ANDREA WOLK RAGER

Jane Eyre 2011

CAROLYN WILLIAMS

Long ago, Margery Williams'sThe Velveteen Rabbit (1922) taught us that toys become real when they are loved. Literary genres, however, become real when they are parodied. The neo-Victorian novel, therefore, must now be real, for its features have become so familiar and readily distinguishable that John Crace has been able to have naughty fun at their expense in Brideshead Abbreviated: The Digested Read of the Twentieth Century (2010), where John Fowles's The French Lieutenant's Woman (1969) stands as representative of the type. Crace's treatment of Fowles's first-person narrator results in a remarkable effect: the ironic commentary upon the nineteenth century from a twentieth-century vantage point that runs throughout the novel gets subjected, in turn, to ironic commentary from a twenty-first-century point-of-view:

For those of us whose life's work consists of the study of the Victorian Era, nothing is plainer than the fact that one cannot escape from “things.” Indeed, for many of us the wealth of detail and artefact available is one of the attractions of the era: who could resist the hats, coaches, buttons, newspapers, lengths of ribbon, packets of tea, bits of old lace, sugared plums, ink pots, keys, and pocket watches that clutter the pages of Dickens, overflow from Gaskell, and crowd in amongst the characters of Collins, Thackeray, Trollope, Eliot, and Brontë? The Victorians had a preoccupation with and predilection for the careful and considered acquisition and utilisation of objects, and this preoccupation has become a focus for critical trends in this area. In 2003, Lynn Pykett wrote that “The Victorians were fascinated with objects and things – but recent scholarship has proved equally fascinated with this Victorian obsession” (1). This obsession can be traced back to a turn in Victorianist criticism in the 1980s, beginning with Brigg's Victorian Things and based on theories of commodity culture in writers such as Jean Baudrillard, Roland Barthes, and Walter Benjamin, towards an interdisciplinary interest in material culture and particularly in consumer culture and theories of consumption and commodification. More recently critics have moved away from Marxist explorations of objects as commodities, to explore the possibilities of the object in contexts other than those generated by discourses of exchange value, production, and consumption, adopting cultural materialist and new historicist approaches to the objects of Victorian culture and literature. This movement has become known as “Thing Theory.” Starting with Bill Brown's seminal work, A Sense of Things, in 2003, critics have sought for ways of explaining the relationship between the subject and the object in terms other than those of the capitalist market system, in order to take account of the complexities of the object as a signifier. This review seeks to give an overview of these two critical perspectives on the objects of Victorian studies, from the roots of “thing theory” in consumer culture and commodity studies, to the key texts and indicative readings which have shaped “thing theory” as a discipline. Starting with a look at some key texts on consumer culture in the nineteenth century, I then move on to look at those “thing theory” works which have moved away from a focus on the object as commodity, towards cultural materialism and an understanding of the Victorian “object” beyond its role in consumer culture. Finally, I look at some readings indicative of the work currently being published in the field.