Abstract

Drawing on the work of Bertrand Westphal, this essay attempts to perform a geocritical reading of the London district of Clerkenwell. After discussing the spatial turn in the Humanities and introducing a range of spatial critical approaches, the essay “maps” literary Clerkenwell from the perspectives of genre hybridity and intertextuality, spatially articulate cartography, multifocal and historically aware public perception and potentially transgressive connection to outside areas. Clerkenwell is seen to have stimulated a range of genre fiction, including Newgate, realist, penny and slum fiction, and social exploration journalism. In much of this writing, the district was defined by its negative associations with crime, poverty, incarceration and slaughter. Such negative imageability, the essay suggests, was self-perpetuating, since authors would be influenced by their reading to create literary worlds repeating existing tropes; these literary representations, in turn, influenced readers’ perceptions of the area.Intertextual, multi-layered and polysensorial geocritical readings,the essay concludes, can producepowerful andnuanced pictures of literary placesbut also face a formidable challenge in defining an adequate geocentric corpus.

Highlights

  • Mapping Victorian Popular FictionsIn Charles Dickens’s Oliver Twist (1837–9), workhouse orphan Oliver flees starvation in the provincial Mudfog workhouse for London, “that great place” where “nobody ... could ever find him” (Dickens [1837–9] 2003: 57)

  • Shuhita Bhattacharjee explores the notion of the cartography of the supernatural in her analysis of the representation of occult Theosophic spatialities in two late-Victorian novels that challenge western orthodoxies by suggesting the liberating potential of alternative eastern faiths. This introduction, tests Westphal’s call for polysensorial, intertextual, multifocal geocentric readings alive to the referentiality, spatiotemporality and transgressivity of literary space by exploring a range of nineteenthcentury texts set in the London district of Clerkenwell

  • The Dickensian echoes are present in the novel’s protagonists: the gentle, vulnerable child, Jane Snowdon; the innately noble artisan, Sidney Kirkwood; Michael Snowdon, the colonial returnee with a secret fortune; the brutal, animalistic Clem Peckover, “a rank, evilly-fostered growth” sprung from the “putrid soil of that nether world” (Gissing [1889] 1992: 8) whose very name evokes Dickens. They are evident in the plot’s promise of a miraculous fortune and escape, in the connections suggested between Clerkenwell and other, wealthier parts of London (Moretti [1998] 2011: 124–33), and in the sense of a “profound attraction of repulsion” towards scenes of low life (Forster 1872: 19)

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Summary

Mapping Victorian Popular Fictions

In Charles Dickens’s Oliver Twist (1837–9), workhouse orphan Oliver flees starvation in the provincial Mudfog workhouse for London, “that great place” where “nobody ... could ever find him” (Dickens [1837–9] 2003: 57). Shuhita Bhattacharjee explores the notion of the cartography of the supernatural in her analysis of the representation of occult Theosophic spatialities in two late-Victorian novels that challenge western orthodoxies by suggesting the liberating potential of alternative eastern faiths This introduction, tests Westphal’s call for polysensorial, intertextual, multifocal geocentric readings alive to the referentiality, spatiotemporality and transgressivity of literary space by exploring a range of nineteenthcentury texts set in the London district of Clerkenwell. The essays in this special issue map real and imaginary spaces, the tropes of domesticity, incarceration and travel, the development of genres and genre conventions, the spatial representation of social relations, and the media and methods of reading and researching Victorian popular fictions

Mapping Genre
Mapping Place
Mapping Impressions
Mapping Journeys and Margins
Findings
Conclusions
Full Text
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