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This entire assortment deals a whole creation to at least one of the most well-liked literary types of the Victorian interval, its key authors and works, its significant topics, and its lasting legacy.

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As Gore said in her preface to Pin Money, they worked “to transfer the familiar narrative of Miss Austen to a higher sphere of society” (Rosa 1964: 127). Commercially, the novels owed their greatest debt to Henry Colburn, who published the majority of fashionable novels. Rosa estimates that Colburn was responsible for publishing nine out of ten silver fork novels (1964: 178), while Sutherland suggests that a figure of 75 percent (1989: 577). Regardless of the exact number, Colburn was more than just the presenter of the genre.

Wood, the wife of the carpenter to whom he is apprenticed, unjustly strikes him when he tries to tell her that one of the guests at a dinner she has thrown in support of the 1715 Jacobite rebellion is actually Jonathan Wild in disguise. This trope of Newgate protagonists and their allies as victims of the corrupting and alien world of crime into which injustice has cast them is in turn often supported by an appeal to what Peter Linebaugh and Simon Joyce identify as an “excarceral politics,” whereby the “escapes, flights, desertions, migrations and refusals” by which characters attempt to escape unjustly “carceral” institutions such as “workhouse, factory, hospital, school and ship” (Linebaugh 1991: 23; cf.

New York: Norton, 1994. 25 Tillotson, Kathleen. Novels of the Eighteen-Forties. Oxford: Clarendon Press, 1954. Wagner, Tamara S. ” Women’s Writing 16/2 (Aug. 2009): 301–22. 2 Newgate Novels Edward Jacobs and Manuela Mourão As Keith Hollingsworth details in his still definitive 1963 survey, the Newgate novel was “a series of novels having criminals as prominent characters” (1963: 14) that between 1830 and 1847 became immensely popular and controversial. Much like the sensation novel, the Newgate novel was “a school defined by its contemporary critics” (Hollingsworth 1963: 14), who named it after London’s notorious Newgate prison, and who – like critics of sensation novels in the 1860s – defined the genre by attacking a small corpus of popular novels by a handful of authors: Edward Bulwer-Lytton, William Harrison Ainsworth, and Charles Dickens.

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