Though London’s Evening Mail [GK9]declared that “‘The Civil War in the United States affects our people more generally even than the Indian Mutiny’” (August 22, 1862), prominent British writers avoided the topic. The sole canonical poet to represent the US Civil War in Britain was American Walt Whitman in W. M. Rossetti’s British edition (1868). Though this chapter considers working-class and feminist writers’ depiction of the war, its principal focus is the underlying causes of major writers’ persistent silence. These causes included President Lincoln’s reluctance to name slavery as the war’s fundamental issue in hopes of bringing the South back, which led many Britons to suspect economic self-interest as the North’s principal motivation; declining abolitionist sympathy based on moral complacency; Conservatives’ sympathy for the Confederacy based on shared commitment to social hierarchies; and increased racism fueled by anthropology and stereotypes of Black Americans circulated in popular minstrel shows.

This chapter considers the unobtrusive words, the conjunctions, and the grammar of Victorian realist prose, drawing on examples from Elizabeth Gaskell, Margaret Oliphant and Anthony Trollope. The styles of Victorian realist fiction are shown to lodge within their very grammar a psychology of style; they register in the turns and returns of their sentences, in their ‘forms of retardation, inference, and backwards-reappraisal’, thinking and reflection from within the midst of narrated experience.

Though the history of sexuality has diversified and enlarged our understanding of Victorian culture and practices, literary criticism, influenced by the courtship plots of canonical novels, has lagged behind. Even as we denounced a generation of historians and scholars for thinking Victorians were repressed, we canonized a literature based on heteronormative courtship narratives and traditional gender roles. We then critiqued that literature for adhering to – or championed it for subverting – those traditional narratives. In fact, Victorian fiction was always wilder and woollier than we gave it credit for being. Drawing on multiple novels, including examples by Wilkie Collins, William Ainsworth, and George Meredith, as well as the history of sexuality, including texts by Elizabeth Blackwell and Havelock Ellis, this essay surveys instances in which non-reproductive sexuality – pre- and extramarital flirtations, same-sex eroticism, desirous ephebes, and other kinds of non-genital or unconsummated sexual activities – are presented as typical behaviors within the novel. Just as conventional marital plots provide form for instances of what scholars have understood as managed desire, these texts suggest other formal possibilities and properties – rather than arcs of crisis and resolution, they may offer more episodic structures of sustained, oscillating, or unresolved tensions.

An analysis of Victorian conceptions of reason and cause and the literary challenge to Mill and positivism.