Abstract
Raymond Williams influentially claimed that the history of the English novel could be organized through the problem of the “knowable community.” This keyword entry rehearses, clarifies, and extends the idea of the “knowable” in Williams's theory of the novel. I argue that the dialectical (neither entirely subjective nor entirely objective) dimension of the concept has been overlooked, with attendant consequences for the important transition between George Eliot and Thomas Hardy in Williams's account.
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