The Woman in White (Bantam Classics)
The Woman in White (Bantam Classics) book cover

The Woman in White (Bantam Classics)

Mass Market Paperback – Box set, April 1, 1985

Price
$6.79
Publisher
Bantam Classics
Publication Date
ISBN-13
978-0553212631
Dimensions
4.17 x 1.35 x 6.73 inches
Weight
13.6 ounces

Description

“Collins was a master craftsman, whom many modern mystery-mongers might imitate to their profit.” —Dorothy L. Sayers From the Publisher "There in the middle of the broad, bright high-road-there, as if it had that moment sprung out of the earth or dropped from the heaven-stood the figure of a solitary woman, dressed from head to foot in white garments." Thus young Walter Hartright first meets the mysterious woman in white in what soon became one of the most popular novels of the nineteenth century. Secrets, mistaken identities, surprise revelations, amnesia, locked rooms and locked asylums, and an unorthodox villain made this mystery thriller an instant success when it first appeared in 1860, and it has continued to enthrall readers ever since. From the hero's foreboding before his arrival at Limmeridge House to the nefarious plot concerning the beautiful Laura, the breathtaking tension of Collin's narrative created a new literary genre of suspense fiction, which profoundly shaped the course of English popular writing. Collins other great mystery, The Moonstone , has been called the finest detective story ever written, but it was this work that so gripped the imagination of the world that Wilkie Collins had his own tombstone inscribed: "Author of The Woman In White . . . " From the Inside Flap "There in the middle of the broad, bright high-road-there, as if it had that moment sprung out of the earth or dropped from the heaven-stood the figure of a solitary woman, dressed from head to foot in white garments." Thus young Walter Hartright first meets the mysterious woman in white in what soon became one of the most popular novels of the nineteenth century. Secrets, mistaken identities, surprise revelations, amnesia, locked rooms and locked asylums, and an unorthodox villain made this mystery thriller an instant success when it first appeared in 1860, and it has continued to enthrall readers ever since. From the hero's foreboding before his arrival at Limmeridge House to the nefarious plot concerning the beautiful Laura, the breathtaking tension of Collin's narrative created a new literary genre of suspense fiction, which profoundly shaped the course of English popular writing. Collins other great mystery, "The Moonstone, has been called the finest detective story ever written, but it was this work that so gripped the imagination of the world that Wilkie Collins had his own tombstone inscribed: "Author of "The Woman In White. . ." Still unsurpassed as a masterpiece of narrative drive and excruciating suspense, 'The Woman in White' is also famous for introducing, in the figure of Count Fosco, the prototype of the suave, sophisticated evil genius. The first detective novel ever written, it has remained, since its publication in 1860, the most admired example of the genre. William Wilkie Collins was born in London in 1824, the eldest son of a successful painter, William Collins. He studied law and was admitted to the bar but never practiced his nominal profession, devoting his time to writing instead. His first published book was a biography of his father, his second a florid historical romance. The first hint of his later talents came with Basil (1852), a vivid tale of seduction, treachery, and revenge.In 1851 Collins had met Charles Dickens, who would become his close friend and mentor. Collins was soon writing unsigned articles and stories for Dickens’s magazine, Household Words , and his novels were serialized in its pages. Collins brought out the boyish, adventurous side of Dickens’s character; the two novelists traveled to Italy, Switzerland, and France together, and their travels produced such lighthearted collaborations as “The Lazy Tour of Two Idle Apprentices.” They also shared a passion for the theater, and Collins’s melodramas, notably “The Frozen Deep,” were presented by Dickens’s private company, with Dickens and Collins in leading roles.Collins’s first mystery novel was Hide and Seek (1853). His first popular success was The Woman in White (1860), followed by No Name (1862), Armadale (1866), and The Moonstone (1868), whose Sergeant Cuff became a prototype of the detective hero in English fiction. Collins’s concentration on the seamier side of life did not endear him to the critics of his day, but he was among the most popular of Victorian novelists. His meticulously plotted, often violent novels are now recognized as the direct ancestors of the modern mystery novel and thriller.Collins’s private life was an open secret among his friends. He had two mistresses, one of whom bore him three children. His later years were marred by a long and painful eye disease. His novels, increasingly didactic, declined greatly in quality, but he continued to write by dictating to a secretary until 1886. He died in 1889. Excerpt. © Reprinted by permission. All rights reserved. Chapter One The Narrative of Walter Hartright, of Clemant's Inn, London IT WAS the last day of July. The long hot summer was drawing to a close; and we, the weary pilgrims of the London pavement, were beginning to think of the cloud-shadows on the corn-fields, and the autumn breezes on the sea-shore.For my own poor part, the fading summer left me out of health, out of spirits, and, if the truth must be told, out of money as well. During the past year, I had not managed my professional resources as carefully as usual; and my extravagance now limited me to the prospect of spending the autumn economically between my mother's cottage at Hampstead, and my own chambers in town.The evening, I remember, was still and cloudy; the London air was at its heaviest; the distant hum of the street-traffic was at its faintest; the small pulse of the life within me and the great heart of the city around me seemed to be sinking in unison, languidly and more languidly, with the sinking sun. I roused myself from the book which I was dreaming over rather than reading, and left my chambers to meet the cool night air in the suburbs. It was one of the two evenings in every week which I was accustomed to spend with my mother and my sister. So I turned my steps northward, in the direction of Hampstead.Events which I have yet to relate, make it necessary to mention in this place that my father had been dead some years at the period of which I am now writing; and that my sister Sarah, and I, were the sole survivors of a family of five children. My father was a drawing-master before me. His exertions had made him highly successful in his profession; and his affectionate anxiety to provide for the future of those who were dependent on his labours, had impelled him, from the time of his marriage, to devote to the insuring of his life a much larger portion of his income than most men consider it necessary to set aside for that purpose. Thanks to his admirable prudence and self-denial, my mother and sister were left, after his death, as independent of the world as they had been during his lifetime. I succeeded to his connexion, and had every reason to feel grateful for the prospect that awaited me at my starting in life.The quiet twilight was still trembling on the topmost ridges of the heath; and the view of London below me had sunk into a black gulf in the shadow of the cloudy night, when I stood before the gate of my mother's cottage. I had hardly rung the bell, before the house-door was opened violently; my worthy Italian friend, Professor Pesca, appeared in the servant's place; and darted out joyously to receive me, with a shrill foreign parody on an English cheer.On his own account, and, I must be allowed to add, on mine also, the Professor merits the honour of a formal introduction. Accident has made him the starting-point of the strange family story which it is the purpose of these pages to unfold.I had first become acquainted with my Italian friend by meeting him at certain great houses, where he taught his own language and I taught drawing. All I then knew of the history of his life was, that he had once held a situation in the University of Padua; that he had left Italy for political reasons (the nature of which he uniformly declined to mention to anyone); and that he had been for many years respectably established in London as a teacher of languages.Without being actually a dwarf-for he was perfectly well-proportioned from head to foot-Pesca was, I think, the smallest human being I ever saw, out of a show-room. Remarkable anywhere, by his personal appearance, he was still further distinguished among the rank and file of mankind, by the harmless eccentricity of his character. The ruling idea of his life appeared to be, that he was bound to show his gratitude to the country which had afforded him an asylum and a means of subsistence, by doing his utmost to turn himself into an Englishman. Not content with paying the nation in general the compliment of invariably carrying an umbrella, and invariably wearing gaiters and a white hat, the Professor further aspired to become an Englishman in his habits and amusements, as well as in his personal appearance. Finding us distinguished, as a nation, by our love of athletic exercises, the little man, in the innocence of his heart, devoted himself impromptu to all our English sports and pastimes, whenever he had the opportunity of joining them; firmly persuaded that he could adopt our national amusements of the field, by an effort of will, precisely as he had adopted our national gaiters and our national white hat.I had seen him risk his limbs at a fox-hunt and in a cricket-field; and, soon afterwards, I saw him risk his life, just as blindly, in the sea at Brighton. We had met there accidentally, and were bathing together. If we had been engaged in any exercise peculiar to my own nation, I should, of course, have looked after Pesca carefully; but, as foreigners are generally quite as well able to take care of themselves in the water as Englishmen, it never occurred to me that the art of swimming might merely add one more to the list of manly exercises which the Professor believed that he could learn impromptu. Soon after we had both struck out from shore, I stopped, finding my friend did not gain on me, and turned round to look for him. To my horror and amazement, I saw nothing between me and the beach but two little white arms, which struggled for an instant above the surface of the water, and then disappeared from view. When I dived for him, the poor little man was lying quietly coiled up at the bottom, in a hollow of shingle, looking by many degrees smaller than I had ever seen him look before. During the few minutes that elapsed while I was taking him in, the air revived him, and he ascended the steps of the machine with my assistance. With the partial recovery of his animation came the return of his wonderful delusion on the subject of swimming. As soon as his chattering teeth would let him speak, he smiled vacantly, and said he thought it must have been the Cramp.When he had thoroughly recovered himself and had joined me on the beach, his warm Southern nature broke through all artificial English restraints, in a moment. He overwhelmed me with the wildest expressions of affection-exclaimed passionately, in his exaggerated Italian way, that he would hold his life, henceforth, at my disposal-and declared that he should never be happy again, until he had found an opportunity of proving his gratitude by rendering me some service which I might remember, on my side, to the end of my days. I did my best to stop the torrent of his tears and protestations, by persisting in treating the whole adventure as a good subject for a joke; and succeeded at last, as I imagined, in lessening Pesca's overwhelming sense of obligation to me. Little did I think then-little did I think afterwards when our pleasant Brighton holiday had drawn to an end-that the opportunity of serving me for which my grateful companion so ardently longed, was soon to come; that he was eagerly to seize it on the instant; and that, by so doing, he was to turn the whole current of my existence into a new channel, and to alter me to myself almost past recognition.Yet, so it was. If I had not dived for Professor Pesca, when he lay under water on his shingle bed, I should, in all human probability, never have been connected with the story which these pages will relate-I should never, perhaps, have heard even the name of the woman, who has lived in all my thoughts, who has possessed herself of all my energies, who has become the one guiding influence that now directs the purpose of my life. Chapter Two Pesca's face and manner, on the evening when we confronted each other at my mother's gate, were more than sufficient to inform me that something extraordinary had happened. It was quite useless, however, to ask him for an immediate explanation. I could only conjecture, while he was dragging me in by both hands, that (knowing my habits) he had come to the cottage to make sure of meeting me that night, and that he had some news to tell of an unusually agreeable kind.We both bounced into the parlour in a highly abrupt and undignified manner. My mother sat by the open window, laughing and fanning herself. Pesca was one of her especial favourites; and his wildest eccentricities were always pardonable in her eyes. Poor dear soul! from the first moment when she found out that the little Professor was deeply and gratefully attached to her son, she opened her heart to him unreservedly, and took all his puzzling foreign peculiarities for granted, without so much as attempting to understand any one of them.My sister Sarah, with all the advantages of youth, was, strangely enough, less pliable. She did full justice to Pesca's excellent qualities of heart; but she could not accept him implicitly, as my mother accepted him, for my sake. Her insular notions of propriety rose in perpetual revolt against Pesca's constitutional contempt for appearances; and she was always more or less undisguisedly astonished at her mother's familiarity with the eccentric little foreigner. I have observed, not only in my sister's case, but in the instances of others, that we of the young generation are nothing like so hearty and so impulsive as some of our elders. I constantly see old people flushed and excited by the prospect of some anticipated pleasure which altogether fails to ruffle the tranquillity of their serene grandchildren. Are we, I wonder, quite such genuine boys and girls now as our seniors were, in their time? Has the great advance in education taken rather too long a stride; and are we, in these modern days, just the least trifle in the world too well brought up?Without attempting to answer those questions decisively, I may at least record that I never saw my mother and my sister together in Pesca's society, without finding my mother much the younger woman of the two. On this occasion, for example, while the old lady was laughing heartily over the boyish manner in which we tumbled into the parlour, Sarah was perturbedly picking up the broken pieces of a teacup, which the Professor had knocked off the table in his precipitate advance to meet me at the door."I don't know what would have happened, Walter," said my mother, "if you had delayed much longer. Pesca has been half-mad with impatience; and I have been half-mad with curiosity. The Professor has brought some wonderful news with him, in which he says you are concerned; and he has cruelly refused to give us the smallest hint of it till his friend Walter appeared.""Very provoking: it spoils the Set," murmured Sarah to herself, mournfully absorbed over the ruins of the broken cup.While these words were being spoken, Pesca, happily and fussily unconscious of the irreparable wrong which the crockery had suffered at his hands, was dragging a large arm-chair to the opposite end of the room, so as to command us all three, in the character of a public speaker addressing an audience. Having turned the chair with its back towards us, he jumped into it on his knees, and excitably addressed his small congregation of three from an impromptu pulpit."Now, my good dears," began Pesca (who always said "good dears," when he meant "worthy friends"), "listen to me. The time has come-I recite my good news-I speak at last.""Hear, hear!" said my mother, humouring the joke."The next thing he will break, mamma," whispered Sarah, "will be the back of the best arm-chair.""I go back into my life, and I address myself to the noblest of created beings," continued Pesca, vehemently apostrophising my unworthy self, over the top rail of the chair. "Who found me dead at the bottom of the sea (through Cramp); and who pulled me up to the top; and what did I say when I got into my own life and my own clothes again?""Much more than was at all necessary," I answered, as doggedly as possible; for the least encouragement in connexion with this subject invariably let loose the Professor's emotions in a flood of tears."I said," persisted Pesca, "that my life belonged to my dear friend, Walter, for the rest of my days-and so it does. I said that I should never be happy again till I had found the opportunity of doing a good Something for Walter-and I have never been contented with myself till this most blessed day. Now," cried the enthusiastic little man at the top of his voice, "the overflowing happiness bursts out of me at every pore of my skin, like a perspiration; for on my faith, and soul, and honour, the Something is done at last, and the only word to say now, is-Right-all-right!"It may be necessary to explain, here, that Pesca prided himself on being a perfect Englishman in his language, as well as in his dress, manners, and amusements. Having picked up a few of our most familiar colloquial expressions, he scattered them about over his conversation whenever they happened to occur to him, turning them, in his high relish for their sound and his general ignorance of their sense, into compound words and repetitions of his own, and always running them into each other, as if they consisted of one long syllable."Among the fine London houses where I teach the language of my native country," said the Professor, rushing into his long-deferred explanation without another word of preface, "there is one, mighty fine, in the big place called Portland. You all know where that is? Yes, yes-course-of-course. The fine house, my good dears, has got inside it a fine family. A Mamma, fair and fat; three young Misses, fair and fat; two young Misters, fair and fat; and a Papa, the fairest and the fattest of all, who is a mighty merchant, up to his eyes in gold-a fine man once, but seeing that he has got a naked head and two chins, fine no longer at the present time. Now mind! I teach the sublime Dante to the young Misses, and ah!-my-soul-bless-my-soul!-it is not in human language to say how the sublime Dante puzzles the pretty heads of all three! No matter-all in good time-and the more lessons the better for me. Now mind! Imagine to yourselves that I am teaching the Young Misses to-day, as usual. We are all four of us down together in the Hell of Dante. At the Seventh Circle-but no matter for that: all the Circles are alike to the three young Misses, fair and fat,-at the Seventh Circle, nevertheless, my pupils are sticking fast; and I to set them going again, recite, explain, and blow myself up red-hot with useless enthusiasm, when-a creak of boots in the passage outside, and in comes the golden Papa, the mighty merchant with the naked head and the two chins.-Ha! my good dears, I am closer than you think for to the business, now. Have you been patient, so far? or have you said to yourselves, 'Deuce-what-the-deuce! Pesca is long-winded to-night?' " Read more

Features & Highlights

  • “There, in the middle of the broad, bright high-road—there, as if it had that moment sprung out of the earth or dropped from the heaven—stood the figure of a solitary Woman, dressed from head to foot in white garments.”Thus young Walter Hartright first meets the mysterious woman in white in what soon became one of the most popular novels of the nineteenth century. Secrets, mistaken identities, surprise revelations, amnesia, locked rooms and locked asylums, and an unorthodox villain made this mystery thriller an instant success when it first appeared in 1860, and it has continued to enthrall readers ever since. From the hero’s foreboding before his arrival at Limmeridge House to the nefarious plot concerning the beautiful Laura, the breathtaking tension of Collins’s narrative created a new literary genre of suspense fiction, which profoundly shaped the course of English popular writing. Collins’s other great mystery,
  • The Moonstone,
  • has been called the finest detective story ever written, but it was this work that so gripped the imagination of the world that Wilkie Collins had his own tombstone inscribed: “Author of
  • The Woman in White
  • .”

Customer Reviews

Rating Breakdown

★★★★★
30%
(3.8K)
★★★★
25%
(3.2K)
★★★
15%
(1.9K)
★★
7%
(898)
23%
(2.9K)

Most Helpful Reviews

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Gripping plot, engaging characters

I read this book in one day, a day where no classes were attended, no phone calls were taken, and no visits made. I cooked and ate my food with it in hand, and sometimes damned my inability to read faster, I was so eager to find out what was going to happen next.

"The Woman in White" is not just one of the most engaging and gripping Victorian novels I have ever read, it is one of the most engaging and gripping novels of all time. Collins creates vivid, memorable characters (ranging from brave intelligent Marian to the surprising and sinister Count Fosco) who are engaged in a plot that twists and turns like nothing else. There are so many unexpected, even shocking incidents, and Collins moves between them with exactingly precise yet graceful and beautiful prose. Not only that, his narrative style, which moves from character to character, allows for fantastic comic interludes which break up the drama (the chapter from the point of view of the hypochondriac uncle is gut-bustingly funny).

A couple of people I know, who are generally not fond of 19th century literature, loved this book. I have never met someone who has not been charmed by it. I strongly urge anyone and everyone to read it.
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I enjoyed the Woman in White

Walter Hartright first meets this mysterious woman while walking along a deserted road; she was a solitary, unusual woman who is dressed from head to foot in white garments. He talks with her and then she disappears.
In this way the Woman in White begins. It is a fascinating mystery novel full of twists and turns, mistaken identities, and surprise revelations.
I loved this book and the investigating that Walter Hartright does, after his first encounter with the woman in white, to uncover her identity.
This book was a bit dated in parts, but overall a strange, eerie mystery tale that is well worth reading. It deserves 3 1/2 stars.
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Wilkie's Women

In the 143 years since its publication, Wilkie Collins' The Woman in White (Random House Modern Library Classics, 1860) has never gone out of print. Originally serialized in Charles Dickens' weekly journal All the Year Round, it outsold Dickens himself in London and New York in 1860.

The novel (and Collins himself) is considered the forerunner to the modern mystery genre and the premise is as simple as it is delightful. London artist Walter Hartright is sent to Cumberland to teach drawing to two half-sisters. He falls instantly in love with Laurie Fairlie, the younger of the two, who is betrothed to a man of noble blood. When it becomes obvious that the fair and delicate Laura's new husband has dastardly intentions, Walter and the older, spinster sister, Marian, are set off on a thrilling chase to rescue Laura and solve the riddle of the woman in white.

Part of the ongoing appeal of The Woman in White is certainly its status as a paragon of mid-Victorian literature. England in 1860 was a rural and aristocratic society coping with the rise of industrialization, urbanization, and the effects of a rapidly-growing middle class on the ideals of democracy. Literature of this time focused on realism - the creation of believable behavior, setting, and psychologically credible characters - combined with sensationalism - high drama and volatile passions.

Victorian readers expected a happy ending to a story that provided social commentary on the present condition of England and Collins delivered both. The Woman in White serves up a critique on class relations, insane asylums, foreigners, and Victorian feminism.

The story is told in a series of first-person narratives, each picking up where the other left off and continuing the plot from his or her own point of view. Collins based this style on court trials he witnessed while attending law school. His progressive class consciousness is revealed in giving a narrative voice to servants who help tell the story, while denying a voice to upper-crust characters such as Laura and her husband, Sir Percival Glyde.

Additionally, like much of Victorian literature, Collins addressing the question of what constitutes a gentleman. The rise of the British middle class spawned a debate as to whether money or morals conferred gentlemanly status. The evils of Sir Percival and his Italian mastermind, Count Fosco, compared to the innocent honor of the lowly drawing master place the designation of gentleman with a kindly heart rather than a thick wallet. Though Collins avoid eat-the-rich didacticism - Laura herself is quite wealthy, but not a villain.

The subplot of madness serves to show up the deplorable conditions of the Victorian asylum where it was possible to be falsely restrained by greedy relatives who then obtained all one's property. Several prominent cases like this preceded the publication of The Woman in White. Forced commitment to an asylum is a common theme in Victorian literature, probably reflecting fears over the narrow range of acceptable behavior that was considered normal and sane. The book's continued popularity may speak to a universal fear of losing one's identity, of having the whole world think we're crazy simply for speaking the truth.

Collins' views on foreigners are alluded to in his treatment of two central characters, both foreign-born Italians. Walter's servant, Pesca, is a bumbling fool but a loyal friend. Count Fosco is evil, yet cultured and clever. The apparently negative portrayal of Italians may be partially due to the British fear of Catholics during the Pope's vie for power in the mid-19th century. More likely, they were a product of the British Empire and the Crimean War, which ended shortly before publication. Victorian Brits justified the Empire with a belief that foreigners were irrational, childlike, irreligious, criminal, hypersexual, and dirty. The Italians were specifically targeted because they sided with the Austro-Hungarian Empire during the war. That Collins created Pesca and Fosco to be quirky and engaging characters is probably progressive in the same sense as a modern American writer might create a Middle Eastern Muslim character to be appealing to the reader without becoming a caricature of either good or bad qualities.

The Woman in White is probably best known as an expose' on the lot of the Victorian woman. Feminism in Victorian times is still recognizable today, influenced as it was by liberal Protestant evangelism, enlightenment appeals to reason, and the rise of communitarian socialism as a strong political force. "Ladies' reading societies" were cropping up in response to Susannah Wright urging women to "read yourselves into awareness". John Stuart Mill was being arrested for distributing information on birth control and attacking the traditional family, saying child-rearing should be communal.

Collins himself was known for being unsympathetic to the traditional family. He lived in a polygamous arrangement with two women he never married and once said his writing "dramatizes the domestic horror of marriage" and showed up the vagaries of marital law.

The novel compares four distinct female characters - Laura; her half-sister, Marian; Count Fosco's wife, Eleanor; and Anne Catherick, the titular women in white herself. Marian is arguably the story's richest character. Collins never mocks her and the reader is not left pitying her even though a Victorian spinster carried the stigma of pity. She mirrors Fosco's cleverness and culture, but for good instead of evil. Unexpectedly, at the time of publication, men contacted Collins wanting to know if Marian was based on a real woman because they wished to meet such a woman. It begs the question of whether the ideals in weight, beauty, and temperament to which women strive to please men have ever been what men really wanted in the first place.

In the shadow of Marian, there's Madame Fosco - temptress and shrew turned dutiful wife. Her subservience is wound into Count Fosco's villainy, yet Laura's subservience remains a symbol of virtue (perhaps Collins avoiding didacticism again).

In spite of her sweetness, Laura remains a two-dimensional character. The plot revolves around her, yet she's as lifeless on the pages as one of her own drawings. In the end, we're left pitying Laura's weakness rather than Marian's spinsterhood, which may have been Collins' intention.

But if Laura is the bright side of virtuous Victorian womanhood, Anne Catherick is its dark underbelly. Her truthful tongue and sharp mind mark her as insane. Her ineffectual weakness and lack of male protection are exaggerated into madness where she whispers in and out of the story - the wraith-like woman in white.

As a feminist novel, it's not without flaw. Collins stoops to portraying Marian as ugly and mannish, implying that she can't catch a man because of her indelicacy and her facial hair. (In point of fact, the number of mid-Victorian spinsters rose because of the women outnumbered the men.) We do watch Marian pine for love, yet it's her beautiful, passive half-sister who is rewarded with it. Though, given Collins' views towards marriage, he may have bestowed this as an ironic mixed reward. Rather than being strong or cunning in standing up to Sir Percival, Laura mostly resorts to the tired stereotype of childlike sneakiness. And here the book falls into the common trap, at least for the modern reader, of mistaking Laura's cunning or Marian's wit and spunk for genuine feminist analysis. This is a problem even in modern entertainment where we're supposed to believe the heroine is liberated when, in fact, she's only making cynical and sarcastic one-liners. But overall, Collins effectively shows the futility of both options for women - the lack of means and social stigma of spinsters and the legal and social disappearance of marriage. The modern reader is left to ponder whether this has really changed.

Characters aside, the heightened language of the novel is lovely and begs to be read aloud, despite a criticism of Collins is that his language was too flowery to accurately reflect Victorian English and, because he was paid by the word, some passages become unnecessarily wordy. To the modern taste, the book is simply too long for a suspense novel, weighing in at 645 pages.

The plot structure of the serial narratives diverges from the typical Victorian novel in which it was common for the author to interject with commentary in his or her own voice, addressed to the reader. The narrative format allows all the advantages of the omniscient viewpoint while keeping the immediacy and personal feel of the first person.

Some holes in the plot are distracting. A woman believed dead is able to marry. Chronological errors in dates (the result of the original serial publication) leave events occurring in nonsensical order. Characters appear and disappear with inexplicable suddenness. Some coincidences strain credibility. A case of typhoid fever figures into the story twenty years before typhoid was officially diagnosed (though it had become a matter of public health and medical inquiry in England at the time of publication).

The quality of The Woman in White is clearly overstated today because of its status as a period piece. In its day, it was little more than a trashy novel for mass entertainment - only slightly less degraded than the modern soap opera because of the evident social commentary. The overemphasis placed on The Secret is a cheap gimmick to lure the Victorian reader into purchasing the next installment.

In spite of this, and in addition to the social commentary, The Woman in White has literary value. Collins plants a fabulous story into the genre of the sensation novel. He uses the kind of symbolism meaningful to a Victorian audience - for example, fire was a common symbol for the tensions between stable, conservative, and restricting values versus destructive and liberating passionate emotion and sexuality. Witticisms are planted into the characters' names - Pesca can't swim yet, his name is Italian for "fish"; Fosco means "gloom"; Percival refers to the knight seeking the Holy Grail.

Collins' use of word painting is evocative and typically Victorian - for example, the description of Blackwater Park is both explanatory and creates an aura of evil. The coincidences, epiphanies, and mistaken identities are fun even when they're exaggerated. All in all, The Woman in White is likely to continue entertaining readers for another 140 years to come.
25 people found this helpful
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A good mystery for Victorian lit lovers

I really liked this book. It had a romantic appeal and vivid, memorable characters. The plot was also fantastic. Wilkie wrapped up everything quite nicely at the end--I won't say anymore for those who haven't read it. I didn't feel there were any unbelievable coincidences in the plot. It was a little slow at first, but once I got into it, I couldn't put it down. Some parts were hilarious. This book has it all. I would definitely recommend it.
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"Make 'em laugh, make 'em cry, make 'em wait"

The above title refers to Collins's avowed formula for writing a novel, and wait the readers certainly did when this book first came out in serial form from 1859-1860-as for laughing and crying, I shall simply have to suppose, with the novel's success as evidence, that many did.

You will like this book if you are capable of suspending your critical faculties and imagining yourself alive at the time it was written. In that sense, it makes for a comfortable transport into a different era, where all the "good" fictional characters behaved in this contrived, upright Victorian fashion. But it is this very contrivance, to which Collins readily admitted, that renders this book only perhaps a little above mediocre.-Compare it to the truly great writers of Victorian England such as the Brontes, who broke new ground by writing impassioned novels from the depths of their souls, to Collins's crafty manifesto (the title above) and perhaps you'll see how clear is the difference between great literature and writing that panders to the common denominator among readers. The Brontes, especially Charlotte, wrote works which are autobiographical and true to their own thoughts and feelings, while Collins, on the other hand, cannily wrote this ever so proper suspense novel while openly keeping two mistresses, Carolina Graves and Martha Rudd, under his roof and enduring their daily catfights, and moreover overindulging in his taste for laudanum, which led to a lifelong addiction.

So, if you fancy this sort of thing, being led along through an England that existed as Victorian readers wished it to be rather than it actually was by a writer whose stated aim was to dupe you, this "classic" is for you. He does this exceedingly well, so it's not a total loss.

It's really no marvel that the arch-villain and deceiver Count Fosco comes across as the most memorable character in this work. Here, Collins WAS writing about what he knew.
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"Make 'em laugh, make 'em weep, make 'em wait, and make 'em come back."

This advice for writing serial romances, alternately attributed to Wilkie Collins, Charles Dickens, and Charles Reade, is epitomized in this 1860 novel by Collins, a story of thwarted love, a marriage of obligation, claims on inheritance, the victimization of women, and, most of all, engaging mystery. Collins, often credited as the father of the mystery genre, creates a fast-paced story of Victorian England, revealing much about Victorian society and its values--the role of women, the laws governing marriage and inheritance, the social institutions of the day, the contrasting attitudes toward the aristocracy and the lower classes, and even the level of medical care and the treatment of psychological illness.

When drawing master Walter Hartright is on his way to teach Marian Halcombe and Laura Fairlie at Limmeridge House, in Cumberland, England, he meets a "woman in white," a young woman who knows Limmeridge House well because she was mentored by Mrs. Fairlie, Laura Fairlie's deceased mother. The "woman in white" is Anne Catherick, who looks just like Laura, but who is an escapee from a nearby mental asylum. Upon his arrival at Limmeridge House, Walter immediately falls in love with the beautiful Laura, but she has made a deathbed pledge to her father to marry to Sir Percival Glyde, someone Anne Catherick despises and blames for her own incarceration. Throughout the novel, Anne visits various characters to offer help in combating Sir Percival and his cohorts.

The story unfolds through documents held by a variety of characters, each of whom tells the story from his/her own point of view. The reader develops sympathy for the innocent and beautiful Laura, respect for her homely but bright half-sister, Marian Halcombe, sadness for Walter Hartright, and hatred for Sir Percival and his friend, the Italian count Fosco, with whom Sir Percival is in business. Sir Percival and the count need financing, and it is Laura's inheritance that is at stake. A series of consecutive disasters, along with arguments, revelations of abuse, the fear of exposure, and the contemplation of murder by Sir Percival and Count Fosco, draws the reader irrevocably into the action.

The characters are sympathetically drawn, with Collins showing an early awareness of the influence of psychology on behavior. The descriptions of nature, presented realistically and in minute detail, build suspense, as Collins creates parallels between nature and the details of plot. As is usually the case with romances, chance plays a huge role in the unfolding action, creating cliff-hanging suspense which contributes to the excitement--and pure fun--of this seductive novel. The conclusion, involving a subplot unrelated to the primary action, resolves issues conveniently. The almost-forgotten author of twenty-five novels, Collins was one of the most successful authors of Victorian mysteries, and he is gaining new attention as a result of reprints of this novel and The Moonstone. n Mary Whipple
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Superbly Written Victorian Mystery

This one is referred to as a classic, as it should be, but it's really not the kind of book one first thinks of when hearing that word. For one thing, it's in part a mystery, and these generally have a tough time gaining and maintaining critical acceptance; for another, it was initially described as a "sensationalist" novel, and although that term meant something entirely different 130 years ago, the description still applies and probably has something to do with this book not having achieved the status that it deserves.

Whatever, this is a truly terrific read, in every respect, with a great plot, superb characters, and a magnificent writing style. The plot, briefly, has to do with a youthful and somewhat naïve heiress, who, through the manipulations and connivances of alleged friends, is basely used and driven to the brink of despair. Although her situation seems hopeless, she nevertheless has two supporters: her cousin, the superbly portrayed Marian Halcombe; and her former drawing-master--and the primary narrator of the tale--Walter Hartright. Gliding in and out of their lives is the title character, the mysterious and tragic Woman in White. It would not be prudent to give away anything else, except to say that about a hundred pages into this novel the plot gallops along at a break-neck pace, with several mysteries, secrets and plot-twists to be unraveled, all of which are completely credible.

The characters are superbly and memorably drawn, particularly the indomitable Count Fosco. He is a large, loud, magnificently-dressed, sweet-talking and irresistible force, constantly playing with his little mice and birds, and disguising in every way the plots and schemes which roil through his brain. His is as vivid a character as one comes across in literature, comparable with the likes of Sir John Falstaff or Long John Silver.

Marian Holcombe is no less memorable. The forward to the novel indicates that following its publication, dozens of men inquired of Mr. Collins as to whether the character of Miss Holcombe was based on a real person, and if so, could they meet her! This is entirely believable. She is a sweet, fiercely loyal, and extraordinarily brave person. A gem of a character.

Beyond all the this, the novel is very literate, written in the polite, carefully-constructed, meticulously-paced Victorian style. It is a joy to savor and dwell over the many almost-melodious passages in this novel.

Yes, yes, it's escapist entertainment, but so what? Upon completion of a novel like this, one feels as if one has improved oneself in language, literacy, and in writing skill; indeed, in general intelligence. What else could one want from a classic?
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Amazing book

This is a book of letters, journal entries and other personal memories composed to tell the facinating, alluring story of the Woman in White, on of Wilkie Collins' best known novels. I personally very much enjoy his style of multiple first person perspectives, and the mystery of the story, from the title, to the description to the characters actions and words keeps the pages turning and the readers mind entranced. Basically it begins with a young art teacher hired to tutor some young girls out in a country estate, and on his way, he encounters The Woman in White, a creature of mysterious beauty, who is apparently an escaped mental patient. But all is not as it seems, and many many twists occur (in plot, and in narration) before everything becomes clear. It may sound cliche, and I suppose to an extent it starts out as being so, but it's so well written, and with all the twists and surprises, and with such *real* characters, that one hardly notices. This is one of my favorite books of all time.
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Excellent suspense novel that holds up well today

Wilkie Collins's The Woman in White is an excellent suspense novel written over 100 years ago. It's 650 pages, and has the relatively wordy passages indicative of that era. How then, you ask, could it be that suspenseful? My response: Read it and see! I found myself reading 200 pages a day in it, simply refusing to put it down, as I HAD to find out what happened to these characters.

And speaking of characters, what about them? Victorian novels are renowned for their character development, and this one is no exception. The protagonist, Walter Hartwright--a drawing instructor--is the perfect English gentleman, sometimes maddeningly so. While he explains what is happening and the proper course of action, the villains are running around wreaking their havoc. Walter's partner in good is Marian Halcombe, the driving force of the novel. She's more decisive than Walter, more courageous, and more determined than anyone else. Think of her as Scarlett O'Hara, but without Scarlett's flaws. At one point the villain even says that as long as Marian is against him, he must work harder than ever before! The villain himself, Count Fosco, is one of the most wonderful creations in literature. Collins melds the character--a mass of contradictions--perfectly, creating the consummate villain: witty, urbane, knowledgeable, always ahead of the good guys, and seemingly able to be in two places at one time. The only weak character in the novel is Laura, around whom the plot revolves. However, even though everything hinges on her, she's not actually in the novel that much, so her lack of development is barely noticed.

The novel, as other reviewers have said, requires some suspension of belief. Two unrelated women look like twins. One of them changes so much from grief that her family doesn't recognize her. People happen to be frequenlty at just the right place at the right time. However, none of this seriously detracts from the novel. The suspense is marvellous!

The plot is very complex. In a very brief synopsis, Marian and Laura become the victim of an apparent perfect crime. They and Walter must find a way out of it, as a mysterious woman in white (the titular character) seems desperate to share a secret with them. Is it what they need? The novel, however, is so much more than that! As twenty narrators provide their parts in events first-hand (one picks up as the other leaves off chronologically), the suspense mounts!

Bottom Line: Get this excellent suspense novel, and don't let the length or publication year deter you! The Victorian Era adds to the great characters, each of whom is so real that I made comparisons with people I actually know. The language, while somewhat stilted, is quite readable and intriguing, and in no way, deters from the suspense. You'll find yourself unable to put the book down; there's a reason it hasn't gone out of print in 150 years!
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An amazing read that will keep you guessing

A friend of mine bought this book for me for Christmas and I was a little on the disappointed side. I thought from the blurb on the back and the time period the book is from that it would be long winded and dull. I was SO wrong! This book is literally non-stop excitement. Every page was chocked full of mystery and suspense and the characters were among the most interesting I've ever read about. Particularly the villain. He is without a doubt amongst the most evil and manipulative characters I've ever read about. This one is a must read!
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