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This finished assortment deals an entire advent to 1 of the preferred literary sorts of the Victorian interval, its key authors and works, its significant subject matters, and its lasting legacy.

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Yet this linking of realism to class by contemporary critics also reiterates the differences stressed above in the ways the two genres located criminality in Victorian class structure. For whereas critics of the sensation novels complained that they were unrealistic because they implied that middle-class people could be, and regularly were, immoral and criminal and that hegemonic institutions like the Victorian family potentially cultivated that criminality, critics of Newgate novels complained that they were unrealistic because they implied that some members of the lower-class race could by nature be good and familiar, rather than criminal and alien.

M. Dent, 1904. Google Book Search. Accessed online 21 Jan. 2010. Hughes, Winifred. ” Novel 25/3 (1992): 328–47. Hughes, Winifred. ” NineteenthCentury Literature 50/2 (Sept. 1995): 189–209. Hughes, Winifred. ” Dickens Studies Annual 25 (1996): 159–76. Jump, Harriet Devine, ed. Silverfork Novels, 1826– 1841. London: Pickering & Chatto, 2005. Kendra, April. ” Women’s Writing 11/1 (2004): 25–38. ” Punch, or the London Charivari 1 (7 Aug. 1841): 39. Project Gutenberg. Accessed online 27 Jan. 2010. Mahawatte, Royce.

2010. Review of The Merchant’s Daughter, by the Author of The Heiress, Agnes Serle, &c. [Ellen Pickering]. Athenaeum 477 (17 Dec. 1836): 883–4. Review of Vivian Grey. The London Literary Gazette 528 (3 Mar. 1827): 134. Google Book Search. Accessed online 20 Jan. 2010. Rosa, Matthew W. The Silver-Fork School: Novels of Fashion Preceding Vanity Fair (1936). Port Washington, NY: Kennikat Press, 1964. The Silver Fork Novel Sutherland, John. The Stanford Companion to Victorian Fiction. Stanford: Stanford University Press, 1989.

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