Dickens, Hard Times, and the Erasure of Female Origins Galia Benziman (bio) Among the host of neglected, unloved, and underfed Dickensian children shines out one impostor: Josiah Bounderby of Coketown, the thriving banker and industrialist in Dickens's 1854 novel Hard Times. Bounderby keeps bragging about his humble origins, and he is so loud and emphatic about it that the narrator nicknames him "the Bully of humility" (15, 196). He flaunts his success as someone who, against all odds, climbed up straight from the gutter to a position of wealth and influence. The reiteration of this story and its hyperbolic details provide a recurrent comic interlude in this otherwise not very comic novel. If not for Bounderby and a few other minor characters, Hard Times, a dystopia of the totalitarian regime of Fact, would probably be considered Dickens's grimmest work of fiction. Perhaps due to its status as a comic interlude, Bounderby's discourse of early suffering has not received the sustained and careful critical attention it deserves. Critics usually refer to his story as a caricature of the Victorian ethos of the self-made man and a parody of the rags-to-riches plot, which is in this case taken to extremes. Too little has been said about the deeper and broader implications, and potential sources, of Bounderby's narrative, which are all the more significant because, as revealed only towards the end of the novel, his self-narrated biography is no more than a heap of lies. Hard Times is a satirical novel whose main target of attack is the utilitarian regime of Fact, starting with the famous opening speech "Now, what [End Page 179] I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else" (5). In such a novel, anything that deviates from Fact is bound to be valuable. Under Hard Times' tyranny of Fact, lying should be aligned with the imagination, fancy, fantasy, and storytelling. Deceit, like any other fiction, provides a glimpse into whatever it is that the regime of Fact is trying so hard to suppress. We may condemn Bounderby as a fraud, yet at the same time it would be worthwhile to regard his lies as a work of fiction, or complex fantasy, that carries intriguing layers of meaning. Since Plato's Republic, volumes have been written about the thin line between deception and artistic creativity. It should suffice to say that according to Dickens's moral schema in Hard Times, much value lies in the ability to invent fictions as an outlet for suppressed emotional needs. Bounderby's invented childhood trauma, which he passes off as true, allows Dickens to explore and satirize a new kind of subjectivity that mixes components of real and artificial identity. The mix of true and false ingredients that compose Bounderby's life story is related to his characterization as a hybrid, partly mechanical subject, which, eschewing its biological origins and marketing itself as self-manufactured, prefigures the modern anxiety about the posthuman. Bounderby's invented story of horrible neglect touches something deep in Dickens. Through this loquacious character who flaunts his early suffering to the degree of self-indulgence, the author parodies his own artistic and autobiographical sentimental attachment to the figure of the neglected child, and his recurrent depictions of dysfunctional or cruel mother figures. Hard Times, as so many Dickens novels, features negative representations of mothers. Yet beyond that, this work levels an attack on the principle of maternity itself, embodied in Bounderby's myth of self-creation, which concerns not only social climbing but also a male attempt to erase the mother altogether. Bounderby's false resume is related to several collective issues that lie at the core of those hard times about which Dickens writes. This character's life story captures and challenges some of the major ideas of his age, issues that concern gender, science, identity, and social mobility. In what follows I propose a close reading of several of the key images Bounderby uses, to suggest that these images rework major undercurrents of the Victorian masculine and industrialist ideal of economic success. These...