Chapter 3 contends that the crime novels of the Newgate school stage the emergence of novelty, spectacle, and celebrity in the everyday lives of the low-born and ordinary. Newgate novels of the 1830s and 1840s examine how, in an emergent mass media culture, notorious figures and extraordinary actions reverberate through the collective consciousness. I argue that Newgate novelists develop a notion of demotic celebrity, showing how the criminal’s talents and achievements might capture the public’s imagination and bring celebrity within reach of insignificant individuals. Reading W. H. Ainsworth’s Jack Sheppard (1839) and Edward Bulwer-Lytton’s Paul Clifford (1830) in relation to William Godwin’s Caleb Williams (1794) and Charles Dickens’s Oliver Twist (1837–38), the chapter shows that the criminal in these novels is a figure aware of his own visibility and conscious of how best to present himself to an audience. The Newgate novels interest in the production of celebrity reflects the permeation of fashion’s logics of contingency and spectacle into quotidian experience across the social spectrum.

This chapter analyzes Charles Dickens’s Hard Times, Oliver Twist, and Barnaby Rudge to show how the Dickensian novel includes animals in its political critiques, questions the belief that humans have access to animal subjectivity, and cultivates an alternate form of animal character. Although Dickens rarely removes himself from ideologies of pastoral power, his animals often function outside it. Dickens’s animal characters critique dominant notions of liberal character and the character of government, offering a way out from animalizing discourses of both animal and working-class character. This chapter engages with discourse surrounding the New Poor Law and Chartism, and shows how Dickens’s animal characters can be considered minor characters who reflect demands for democracy throughout the period. These three novels highlight the radical nature of Dickens’s animal politics, as they challenge larger constructions of liberal character and posit alternate animal subjectivities within a more democratic political community.

This chapter analyzes Charles Dickens’s Hard Times, Oliver Twist, and Barnaby Rudge to show how the Dickensian novel includes animals in its political critiques, questions the belief that humans have access to animal subjectivity, and cultivates an alternate form of animal character. Although Dickens rarely removes himself from ideologies of pastoral power, his animals often function outside it. Dickens’s animal characters critique dominant notions of liberal character and the character of government, offering a way out from animalizing discourses of both animal and working-class character. This chapter engages with discourse surrounding the New Poor Law and Chartism, and shows how Dickens’s animal characters can be considered minor characters who reflect demands for democracy throughout the period. These three novels highlight the radical nature of Dickens’s animal politics, as they challenge larger constructions of liberal character and posit alternate animal subjectivities within a more democratic political community.