This novel blends Charles Dickens and characters from his novels into a quest to discover the ending of Dickens' last novel The Mystery of Edwin Drood which was left uncompleted at the author's death in 1870. Ohl's narrator, Francois Daumal nurtures a passion for Dickens. He systematically devours everything Dickens ever wrote, and develops a particular obsession with Edwin Drood. He becomes an expert on the subject, steeped in Dickensian studies, commentaries, critiques of all kinds, from the most specialist to the most exotically alternative. His discovery as a student that his obsession is shared by another, the smoothly urbane and ruthlessly ambitious Michel Mangematin, marks the beginning of a deadly rivalry that will be pursued over the following years with not only academic and worldly success at stake but also love, self-esteem, and even personal identity.

This Pivot examines a body of contemporary neo-Victorian novels whose uneasy relationship with the past can be theorised in terms of aggressive eating, including cannibalism. Not only is the imagery of eating repeatedly used by critics to comprehend neo-Victorian literature, the theme of cannibalism itself also appears overtly or implicitly in a number of the novels and their Victorian prototypes, thereby mirroring the cannibalistic relationship between the contemporary and the Victorian. Tammy Lai-Ming Ho argues that aggressive eating or cannibalism can be seen as a pathological and defining characteristic of neo-Victorian fiction, demonstrating how cannibalism provides a framework for understanding the genre’s origin, its conflicted, ambivalent and violent relationship with its Victorian predecessors and the grotesque and gothic effects that it generates in its fiction.

While draining a pond during work for the construction of the Stockton to Darlington Railway George Stephenson's workers discover a female corpse with a dagger stuck between her ribs—could it be that of Lady Beresford, the French wife of a local baron who disappeared under mysterious circumstances twenty years ago? The identity of the victim is at the heart of Jean-Pierre Ohl's novel, a richly woven tapestry set during the rise of capitalism in England. The Devil's Road has a Dickensian range of characters from the indolent liberal lawyer Bailey, with a taste for Byron's poems and madeira wine, his imperturbable clerk Snegg, the activist worker Davies and the 'Corporal', a veteran of the Napoleonic wars and demonstrator wounded at the Peterloo Massacre—there is even a role for the young Charles Dickens working in the blacking warehouse.

Aleksis Kivi (1834-1872) is Finland’s greatest writer. His great 1870 novel The Brothers Seven has been translated 59 times into 34 languages. Is he world literature, or not? In Aleksis Kivi and/as World Literature Douglas Robinson uses this question as a wedge for exploring the nature and nurture of world literature, and the contributions made by translators to it. Drawing on Deleuze and Guattari’s notion of major and minor literature, Robinson argues that translators have mainly “majoritized” Kivi—translated him respectfully—and so created images of literary tourism that ill suit recognition as world literature. Far better, he insists, is the impulse to minoritize—to find and celebrate the minor writer in Kivi, who “sends the major language racing.”

An author subject index to selected general interest periodicals of reference value in libraries.

Liminal Dickens is a collection of essays which cast new light on some surprisingly neglected areas of Dickens’s writings: the rites of passage represented by such transitional moments and ceremonies as birth/christenings, weddings/marriages, and death. Although a great deal of attention has been paid to the family in Dickens’s works, relatively little has been said about his representations of these moments and ceremonies. Similarly, although there have been discussions of Dickens’s religious beliefs, neither his views on death and dying nor his ideas about the afterlife have been analysed in any great detail. Moreover, this collection, arising from a conference on Dickens held in Thessaloniki in 2012, explores how Dickens’s preoccupation with these transitional phases reflects his own liminality and his varying positions regarding some main Victorian concerns, such as religion, social institutions, progress, and modes of writing. The book is composed of four parts: Part One concerns Dickens’s tendency to see birth and death as part of a continuum rather than as entirely separate states; Part Two looks at his unconventional responses to adolescence as a transitional period and to the marriage ceremony as an often unsuccessful rite de passage; Part Three analyses his partial divergence from certain widely held Victorian views about progress, evolution, sanitation, and the provisions made for the poor; and Part Four focuses on two of his novels which are seen as transgressing conventional genre boundaries.

The Reception of Charles Dickens in Europe offers a full historical survey of Dickens's reception in all the major European countries and many of the smaller ones, filling a major gap in Dickens scholarship, which has by and large neglected Dickens's fortunes in Europe, and his impact on major European authors and movements. Essays by leading international critics and translators give full attention to cultural changes and fashions, such as the decline of Dickens's fortunes at the end of the nineteenth century in the period of Naturalism and Aestheticism, and the subsequent upswing in the period of Modernism, in part as a consequence of the rise of film in the era of Chaplin and Eisenstein. It will also offer accounts of Dickens's reception in periods of political upheaval and revolution such as during the communist era in Eastern Europe or under fascism in Germany and Italy in particular.