The Revolution Is Dead! Long Live Sensation!: The Political History of The Woman in White
This article examines the importance of Europe's revolutionary history in Wilkie Collins's creation of the sensation genre. During his literary apprenticeship in the 1850s, Collins wrote a number of stories set during the first French Revolution. By the end of that decade, however, the young novelist began to question the literary relevance of this history. I argue that in The Woman in White (1860), Collins undertakes the project of defining his relationship to the revolutionary past. On the one hand, Collins uses The Woman in White to announce that the era of political radicalism is dead, a victim of the failed European revolutions of 1848–49. On the other, he positions his new genre of domestic terror as a literary substitute for the now defunct politics of revolutionary terror. My argument depends on reading Collins's novel in its original context, alongside Dickens's A Tale of Two Cities, the book serialized immediately before Collins's in All the Year Round.
No Reference information available - sign in for access.
No Citation information available - sign in for access.
No Supplementary Data.
Document Type: Research Article
Publication date: 2010-06-01
More about this publication?
- This title will no longer be available via Ingenta Connect from May 15, 2017. Please contact the publisher at email@example.com for information on how to continue access to this title.