Reviewed by: The Edinburgh Companion to Anthony Trollope ed. by Frederik Van Dam, David Skilton, and Ortwin de Graef Deborah Denenholz Morse (bio) The Edinburgh Companion to Anthony Trollope, edited by Frederik Van Dam, David Skilton, and Ortwin de Graef; pp. xii + 396. Edinburgh: Edinburgh University Press, 2019, $200.00. There are many fine essays in The Edinburgh Companion to Anthony Trollope, some of which I heard in earlier versions at the 2015 Trollope bicentenary in Leuven, Belgium. All of the contributors are accomplished Victorianists. However, unlike the volume's editors—Frederik Van Dam, David Skilton, and Ortwin de Graef—few of them are known primarily as Trollope scholars, although some—Helen Blythe, Sophie Gilmartin, and Lauren Goodlad, among others—have written brilliantly on Trollope for years. Few contributors have written a major study on Trollope; John McCourt is a luminous exception, with his essential book on Trollope and Ireland. This editorial choice is both a strength and a weakness of the volume—a strength with regard to the scope of inquiry and the [End Page 463] wonderful minds thinking about Trollope; a weakness because capacious knowledge of Trollope's fiction is requisite to full interpretation of his novels, as the great Trollopian James Kincaid once claimed. There is at times a related tendency not to acknowledge important scholarship on the very subject at hand that I fear will seem ungenerous to scholars steeped in Trollope. That said, there is a plethora of exciting scholarship here. Claire Jarvis's compelling "Almost Trollope" opens the volume's first section, "Style," arguing that Trollope's "hesitant" style, marked by his pervasive use of "almost," is intentional rather than a sign of haste. Trollope's "almostness," in which the narrator enters only partially into characters' minds, issues in a new realism in which there is both sympathy and separation between narrator and character (22). Patrick Fessenbecker is concerned with the intersection of narration and morality, as he plumbs Trollope's language in light of moral philosophy. There is much to admire in his readings of The Small House at Allington (1862) and The Claverings (1866), and in his determination "to treat Trollope as substantively engaging philosophical questions" (41). Gilmartin's "The Physiology of the Everyday" adds to her distinguished work on Trollope and the body. Gilmartin analyzes Trollope's mastery of free indirect discourse as it represents everyday sensory responses in novels from Framley Parsonage (1861) to The Way We Live Now (1875). Blythe's impressive essay centering on An Old Man's Love (1884) extends her work on Trollope's style in lesser-known works. Blythe argues that Trollope's allusions to his own earlier work and to Latin tags demonstrate his sophistication in interrogating Victorian historical and cultural as well as readerly expectation and experience. Eminent Trollopian Skilton reads An Autobiography (1883) as advice literature, interpreting Trollope's infamous accounting of monies earned as "a faithful servant's report to that Great Office in the sky" (89). Goodlad's original essay considers Trollope's novel chronicles in relation to contemporary serial television. Goodlad's previous innovative work enriches this consideration of transtemporal and transnational Trollope. Her erudite historical, critical, and theoretical contexts focus here on speculative financial conditions that encourage "Bigger Stories"—an infinitely expanding genre (107). Section 2, "Circulation," opens with distinguished Trollope editor Steve Amarnick's engaging critique of Harry Heathcote of Gangoil (1874) as revising the Dickensian Christmas genre in a dark Australian mode. Readers of An Autobiography and Trollope's letters will know of Trollope's Australian sheepfarmer son Fred's influence upon the character of Harry. John Bowen's brilliant essay focuses upon Elizabeth Bishop's dramatic monologue "From Trollope's Journal" (1965) and its relation to the travel book North America (1859), while also exploring Trollope's influence upon Anthony Powell's A Dance to the Music of Time series (1951–75). The range of this essay—from Charles Darwin to Wilfred Owen—is impressive. Luca Caddia has written incisively on Trollope for many years. Here he trenchantly explores Trollope's interiority, using Philip Roth's term "counterlife" to consider twentieth- and twenty-first-century texts that reference and critique Trollope's work (143). Caddia...