Sensation novel

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The sensation novel, also sensation fiction, was a literary genre of fiction that achieved peak popularity in Great Britain in the 1860s and 1870s. [1] Its literary forebears included the melodramatic novels and the Newgate novels, which focused on tales woven around criminal biographies; it also drew on the Gothic, romance, as well as mass market genres. The genre's popularity was conjoined to an expanding book market and growth of a reading public, by-products of the Industrial Revolution. [2] Whereas romance and realism had traditionally been contradictory modes of literature, they were brought together in sensation fiction. The sensation novelists commonly wrote stories that were allegorical and abstract; the abstract nature of the stories gave the authors room to explore scenarios that wrestled with the social anxieties [3] of the Victorian era. The loss of identity is seen in many sensation fiction stories because this was a common social anxiety; in Britain, there was an increased use in record keeping [4] and therefore people questioned the meaning and permanence of identity. The social anxiety regarding identity is reflected in novels such as The Woman in White and Lady Audley's Secret. [5]

Contents

Sensation fiction is commonly seen to have emerged as a definable genre in the wake of three novels: Wilkie Collins's The Woman in White (1859–60); Ellen (Mrs. Henry) Wood's East Lynne (1861); and Mary Elizabeth Braddon's Lady Audley's Secret (1862). [6] Perhaps the earliest use of the term "sensation fiction" as a name for such novels appears in the 1861 edition of the Saunders, Otley, & co.'s Literary Budget. [7]

Neo-Victorian novels, such as Eleanor Catton's The Luminaries , have been seen to draw on the conventions of sensation fiction. The cited example uses of "suspect wills and forged documents, secret marriages, illegitimacy and opium". [8]

Definition

The Victorian sensation novel has been variously defined as a "novel-with-a-secret" [9] and as the sort of novel that combines "romance and realism" in a way that "strains both modes to the limit". [10]

Influences

Captioned "The Novelist who invented Sensation", caricature of Wilkie Collins in Vanity Fair, 3 February 1872 Wilkie Collins Vanity Fair 3 February 1872.jpg
Captioned "The Novelist who invented Sensation", caricature of Wilkie Collins in Vanity Fair , 3 February 1872

Sensation novelists drew on the influences of melodrama, Gothicism, and the Newgate novel to explore themes considered provocative by societal norms and to question the artificiality of identity. In the 1860s, the sensation novels and theatre became closely intertwined; many of the famous sensation novelists wrote as well for the stage. [3] Dickens, Reade, and Collins all wrote and acted for the theatre, and the stage helped many novelists gain recognition as authors. Peter Brooks defines melodrama as an attempt "to find, to articulate, to demonstrate, to 'prove' the existence of a moral universe which, though put into question, masked by villainy and perversions of judgement, does exist and can be made to assert its presence. [3]

The Gothic influence on the sensation novel is described by Laurence Talairach-Vielmas thus:

secrecy and the body go hand in hand, and the more sensation novels highlight the elusiveness or artificiality of human identity, the more hair-raising Gothic loci appear as the ultimate place where fragment of truth can be recollected and reunited and story rewritten. [5]

A common Gothic influence seen in the sensation novels is the search for a secret. Moreover, crime scenes at wells or near water are symbolic of the "depth" which is a key element of Gothic fiction. The sensation novel puts a modern spin on the classic Gothic ghost stories by placing the stories in contemporary settings and this produces the effect of creating a terror that is real and believable. Le Fanu's story, "Green Tea", is exemplary of the sensation novelists desire to explore the path less trodden. The main character, Jennings, inadvertently opens up an inner eye that can see the spiritual world after consuming too much green tea. [5]

Sensation novels drew influence as well from the Newgate novels that were popular during the 1830s and 40s; similarly to the sensation novel, Newgate novels created much controversy and debate. [4] Authors of both genres found inspiration in newspaper police reports; the crime mysteries of the sensation novels, however, were less interested in actually catching the criminal and instead focused more on the criminal's identity and how they became a criminal. [11]

Themes and reception

Typically the sensation novel focused on shocking subject matter including adultery, theft, kidnapping, insanity, bigamy, forgery, seduction and murder. [12] It distinguished itself from other contemporary genres, including the Gothic novel, by setting these themes in ordinary, familiar and often domestic settings, thereby undermining the common Victorian-era assumption that sensational events were something foreign and divorced from comfortable middle-class life. W. S. Gilbert satirised these works in his 1871 comic opera A Sensation Novel . For Anthony Trollope, however, the best novels should be "at the same time realistic and sensational...and both in the highest degree". [13]

When sensation novels burst upon a quiescent England these novels became immediate best sellers, surpassing all previous book sales records. However, highbrow critics writing in academic journals of the day decried the phenomenon and criticized its practitioners (and readers) in the harshest terms; John Ruskin perhaps providing the most thoughtful criticism in his 'Fiction – Fair and Foul'. [1] Some scholars speculate that the notoriety of the genre may have contributed to its popularity. [14] Henry Longueville Mansel from the Quarterly described the sensation novel as "extremely provocative of that sensation in the palate and throat which is a premonitory symptom of nausea". [3]

Notable examples

Legacy

Award-winning writer Sarah Waters stated that her third, critically acclaimed novel Fingersmith (Virago Press, 2002) is meant as a tribute to the sensational novel genre. [15] [16]

See also

Related Research Articles

<span class="mw-page-title-main">Mary Elizabeth Braddon</span> English popular novelist (1835–1915)

Mary Elizabeth Braddon was an English popular novelist of the Victorian era. She is best known for her 1862 sensation novel Lady Audley's Secret, which has also been dramatised and filmed several times.

<i>Lady Audleys Secret</i>

Lady Audley's Secret is a sensation novel by Mary Elizabeth Braddon published in 1862. It was Braddon's most successful and well-known novel. Critic John Sutherland (1989) described the work as "the most sensationally successful of all the sensation novels". The plot centres on "accidental bigamy" which was in literary fashion in the early 1860s. The plot was summarised by literary critic Elaine Showalter (1982): "Braddon's bigamous heroine deserts her child, pushes husband number one down a well, thinks about poisoning husband number two and sets fire to a hotel in which her other male acquaintances are residing". Elements of the novel mirror themes of the real-life Constance Kent case of June 1860 which gripped the nation for years. A follow-up novel, Aurora Floyd, appeared in 1863. Braddon set the story in Ingatestone Hall, Essex, inspired by a visit there. There have been three silent film adaptations, one UK television version in 2000, and three minor stage adaptations.

<i>East Lynne</i> 1861 novel by Ellen Wood

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<span class="mw-page-title-main">Wilkie Collins</span> English novelist and playwright (1824–1889)

William Wilkie Collins was an English novelist and playwright known especially for The Woman in White (1859), a mystery novel and early "sensation novel", and for The Moonstone (1868), which established many of the ground rules of the modern detective novel and is also perhaps the earliest clear example of the police procedural genre.

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<span class="mw-page-title-main">Melodrama</span> Dramatic work that exaggerates plot and characters to appeal to the emotions

A modern melodrama is a dramatic work in which the plot, typically sensationalized and for a strong emotional appeal, takes precedence over detailed characterization. Melodramas typically concentrate on dialogue that is often bombastic or excessively sentimental, rather than action. Characters are often flat, and written to fulfill stereotypes. Melodramas are typically set in the private sphere of the home, focusing on morality and family issues, love, and marriage, often with challenges from an outside source, such as a "temptress", a scoundrel, or an aristocratic villain. A melodrama on stage, filmed, or on television is usually accompanied by dramatic and suggestive music that offers cues to the audience of the drama being presented.

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<span class="mw-page-title-main">Ellen Wood (author)</span> English novelist

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<i>The Woman in White</i> (novel) 1859 novel by Wilkie Collins

The Woman in White is Wilkie Collins's fifth published novel, written in 1859 and set from 1849 to 1850. It is a mystery novel and falls under the genre of "sensation novels".

The Newgate novels were novels published in England from the late 1820s until the 1840s that glamorised the lives of the criminals they portrayed. Most drew their inspiration from the Newgate Calendar, a biography of famous criminals published during the late 18th and early 19th centuries, and usually rearranged or embellished the original tale for melodramatic effect. The novels caused great controversy, and drew criticism in particular from the novelist William Makepeace Thackeray, who satirised them in several of his novels and attacked the authors openly.

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A Terrible Temptation: A Story of the Day is an 1871 sensation novel by Charles Reade. It first appeared serially in Cassell's Magazine in England from March 4 to August 26, 1871.

<span class="mw-page-title-main">Romance (prose fiction)</span> Genre of novel

The type of romance considered here is mainly the genre of novel defined by the novelist Walter Scott as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents", in contrast to mainstream novels which realistically depict the state of a society. These works frequently, but not exclusively, take the form of the historical novel. Scott's novels are also frequently described as historical romances, and Northrop Frye suggested "the general principle that most 'historical novels' are romances". Scott describes romance as a "kindred term", and many European languages do not distinguish between romance and novel: "a novel is le roman, der Roman, il romanzo".

References

  1. 1 2 I. Ousby ed., The Cambridge Guide to Literature in English (1995) p. 844
  2. ↑ Muller, C. "Victorian Sensationalism: The Short Stories of Wilkie Collins." Unisa English Studies. 11.1 (1973): 12-13. Web. 8 Jun. 2014.
  3. 1 2 3 4 Hughes, Winifred. The Maniac in the Cellar. Princeton: Princeton University, 1980. Print.
  4. 1 2 Pykett Lyn. "The Newgate novel and sensation fiction, 1830-1868." Crime Fiction. Ed. Martin Priestman. Cambridge: Cambridge University, 2003. 19-39. Print
  5. 1 2 3 Talairach-Vielmas, Laurence. "Sensation Fiction: A Peep Behind the Veil." The Victorian Gothic. Ed. Smith, Andrew, and William Hughes. Edinburgh: Edinburgh University, 2012. 29-42. Print
  6. ↑ Loesberg, Jonathan. Ideology of Narrative Form in Sensation. University of California, 1986. JSTOR. Web. 10 Jun. 2014.
  7. ↑ Saunders, Otley, & Co.'s. "Literature." Literary Budget 1 Nov. 1861: 38. Web. 10 Jun. 2014.
  8. ↑ Mullan, John (4 April 2014). "John Mullan on The Luminaries – Guardian book club". The Guardian.
  9. ↑ Tillotson, Kathleen (1969). Introduction to The Woman in White, p. xv. Dover Publications, New York. ISBN   0140289712.
  10. ↑ Hughes, Winifred (2002). Brantlinger, Patrick (ed.). A Companion to the Victorian Novel. Oxford: Blackwell. p. 261.
  11. ↑ Adams, James Eli. A History of Victorian Literature. Chichester: Wiley-Blackwell, 2009. Web. 4 Jun. 2014.
  12. ↑ See Allingham, Philip V. The Victorian Sensation Novel, 1860-1880 — "preaching to the nerves instead of the judgment."Victorian Web. (last updated) 4 May 2006. Web. 15 May 2009.
  13. ↑ Quoted in H. Bloom ed., The Victorian Novel (2004) p. 113
  14. ↑ See Hughes, Winifred The Maniac in the Cellar: Sensation Novels of the 1860s. Princeton: Princeton UP, 1980.
  15. ↑ Sarah Waters discusses Fingersmith. BBC Radio 4 Bookclub - 07 March 2004.
  16. ↑ Sensational stories - Sarah Waters on the echoes of 'sensation novels' in Fingersmith. The Guardian - 17 June 2006.

Further reading

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