Titlebook: History and Cultural Memory in Neo-Victorian Fiction; Victorian Afterimage Kate Mitchell Book‘‘‘‘‘‘‘‘ 2010 Kate Mitchell 2010 fiction.novel

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amputation

Contemporary Victorian(ism)s,he full erasure of the past and this, at times, produces a ‘shock of recognition’ (Himmelfarb, 1995: 15–16). The past exists in the present in the shape of buildings and urban spaces and in residual customs, beliefs, institutions and practices. Since the spatial distance between the present and the

foodstuff

A Fertile Excess: ,, Desire and the Historical Sublime,ies and ‘making things happen’ proliferate, circulate and entwine in fecund excess in the novel, indicative of a desire for history that persists, even flourishes, despite its absence. This desire ensures that, paradoxically, the very void of history generates its surfeit. History always exceeds the

aggressor

,(Dis)Possessing Knowledge: A. S. Byatt’s ,, heritage’ (Thatcher, 1992). As we have seen, her platform after 1984 was built upon the slogan of ‘Victorian values’, a catchphrase that concealed an expansive programme for quite revolutionary change behind the reassuring visage of a return to old-fashioned values and an all-but-lost national heri

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,‘Making it seem like it’s authentic’: the Faux-Victorian Novel as Cultural Memory in , and ,, shadows at the margins of Victorian literature and history. In contrast to . and ., each of which constructs a contemporary frame for its representation of the Victorian period, . and . are examples of faux-Victorian fiction; novels written in the Victorian tradition that refuse to self-reflexively

Odyssey

,‘The alluring patina of loss’: Photography, Memory, and Memory Texts in , and ,,focus of nineteenth- and twentieth-century memory’ (Edwards, 1999: 221). It is fitting, then, that many contemporary historical novelists return to the Victorian origins of photography to explore history, memory and the Victorian era.. They dramatise the value that attaches to photography as a memor

Genome

,Conclusion: ‘What will count as history?’,, Helen Humphreys and Gail Jones. It has argued that that these fictions deploy the vocabulary of Victorian strategies of history-making and recollection in order to re-member the period as part of our cultural memory. These fictions, together with other cultural and political evocations of the peri

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Condyle

A Fertile Excess: ,, Desire and the Historical Sublime,ol’s curriculum, history-teacher Tom abandons lesson plans and embarks upon a narrative that, in its meandering course through a range of historical moments, including many from Tom’s own childhood, in an order (or anti-order) determined by his own effort of recall, subsumes history into memory.