Plotting Disability In The Nineteenth Century Novel

This book takes an exciting new approach to characterisation and plot in the Victorian novel, examining the vital narrative work performed by disabled characters.

"Highly recommended . . . Holmes moves seamlessly from novelists like Charles Dickens to sociologists like Henry Mayhew to autobiographers like John Kitto." ---Choice "An absolutely stunning book that will make a significant contribution to both Victorian literary studies and disability studies." ---Rosemarie Garland-Thomson, Emory University "Establishes that Victorian melodrama informs many of our contemporary notions of disability . . . We have inherited from the Victorians not pandemic disability, but rather the complex of sympathy and fear." ---Victorian Studies Tiny Tim, Clym Yeobright, Long John Silver---what underlies nineteenth-century British literature's fixation with disability? Melodramatic representations of disability pervaded not only novels, but also doctors' treatises on blindness, educators' arguments for "special" education, and even the writing of disabled people themselves. Drawing on extensive primary research, Martha Stoddard Holmes introduces readers to popular literary and dramatic works that explored culturally risky questions like "can disabled men work?" and "should disabled women have babies?" and makes connections between literary plots and medical, social, and educational debates of the day. Martha Stoddard Holmes is Associate Professor of Literature and Writing Studies at California State University, San Marcos.

Articulating Bodies shows how Victorian fiction’s narrative form as well as narrative theme to negotiate how to categorize bodies, both constructing and questioning the boundary dividing normalcy from abnormality.

Heidi, The Secret Garden, and Pollyanna are all classic "girls' books, " featuring a miracle cure of an invalid character who literally gets up and walks away from illness or paralysis. Such stories were common in Victorian novels and they implicitly conveyed the idea that disability and physical suffering were punishment for wrongdoing: unruly girls could not enter womanhood unless they were tamed, and an accident was the perfect plot device for this transformation. Other characters, like Helen Burns in Jane Eyre or Beth in Little Women, were just too good to live, and died so that another character could be redeemed by their example. Lois Keith points out in this study that the temptation to either cure or kill off disabled characters has surprising tenacity. The widespread belief that a disabled life isn't a full life and that patients can cure themselves through force of will endures to the present day. In Take Up Thy Bed & Walk, Lois Keith brings her lively and observant eye to the classic books of childhood from Jane Eyre, Heidi, and Pollyanna, to modern American classics such as Laura Ingalls Wilder's Little House on the Prairie and Judy Blume's Deenie. Keith explores the recurring images of impairment and ill health in literature and asks the reader to reconsider the messages they send to a devoted young audience. This book is also a testament to the singular passion with which these books are read by younger readers and reminds us of the intensity of our own reading experience as children.

Disability and the Victorians investigates the attitudes of Victorians towards people with impairments, illustrates how these influenced the interventions they introduced to support such people and considers the legacies they left behind by their actions and perspectives. A range of impairments are addressed in a variety of contexts.

"The Victorian freak show was at once mainstream and subversive. Spectacles of strange, exotic, and titillating bodies drew large middle-class audiences in England throughout much of the nineteenth century, and souvenir portraits of performing freaks even found their way into Victorian family albums. At the same time, the imagery and practices of the freak show shocked Victorian sensibilities and sparked controversy about both the boundaries of physical normalcy and morality in entertainment. Marketing tactics for the freak show often made use of common ideological assumptions - compulsory female domesticity and British imperial authority, for instance - but reflected these ideas with the surreal distortion of a fun-house mirror. Not surprisingly, the popular fiction written for middle-class Victorian readers also calls upon imagery of extreme physical difference, and the odd-bodied characters that people nineteenth-century fiction raise meaningful questions about the relationships between physical difference and the social expectations that shaped Victorian life." "This book is primarily an aesthetic analysis of freak show imagery as it appears in Victorian popular fiction, including the works of Charles Dickens, Wilkie Collins, Guy de Maupassant, Florence Marryat, and Lewis Carroll. It argues that, in spite of a strong nineteenth-century impulse to define and defend normalcy, images of radical physical difference are often framed in surprisingly positive ways in Victorian fiction. The dwarves, fat people, and bearded ladies who intrude on the more conventional imagery of Victorian novels serve to shift the meaning of those works' main plots and characters, sometimes sharpening satires of the nineteenth-century treatment of the poor or disabled, sometimes offering new traits and behaviors as supplements for restrictive social norms." --Book Jacket.

Top scholars in Victorian studies reexamine questions about marriage and the marriage plot from cutting-edge perspectives.