Abstract
In this article I will explore the idea of Sarah as 'secret' and 'mystery', and track the Urania Cottage women as they resonate through Little Dorrit (1855–57), with their submerged repertoire of sexual back-stories and halfconcealed evidence. In doing this, they also provide a model for the narrative that cannot be told, or if told, then not heeded. The text of Little Dorrit plays host to more text, to women's papers and letters, sometimes read but not responded to, sometimes not even read. Knowing women's stories, secreting and mystifying them – 'becoming a party to their mystery' – constitutes one of the narrative conditions of Little Dorrit, and the source of its underground energy.
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