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Wilkie Collins - The evil genius

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Wilkie Collins is best known for his great mystery The Moonstone and The Woman in Whiteand for a life as sensational as are those novels. (The writer who famously advised other novelists to make em laugh, make em cry, make em wait is now known to have kept entire households in different parts of England going simultaneously.) Yet Collins also wrote a succession of extraordinarily powerful novels of private life; of these The Evil Genius is among the finest. The story is motivates by the attraction between Herbert Linley and the woman he hires as governess for his child Kittythe long suffering Sydney Westerfield. As one expects with Collins, the story is driven forward with deft assurance. Yet he also treats the theme of adultery and divorce in a manner quite unconventional for his timeand, remarkably, he manages to draw readers into a sympathetic understanding of both of the main female characters: the offending governess and the aggrieved wife. The Evil Genius was a very considerable success when first published; indeed, it brought Collins more financially than any of his other works. Over a century later its sinews retain the strength to speak powerfully to the reader; lively and intelligent, it is perhaps the finest of Collins later novels.

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title The Evil Genius Broadview Literary Texts author Collins - photo 1

title:The Evil Genius Broadview Literary Texts
author:Collins, Wilkie.; Law, Graham.
publisher:Broadview Press
isbn10 | asin:1551110172
print isbn13:9781551110172
ebook isbn13:9780585242668
language:English
subject
publication date:1994
lcc:PR4494.E95 1994eb
ddc:823/.8
subject:
The Evil Genius
Wilkie Collins
Edited by Graham Law
Page 4 1994 Broadview Press Ltd Reprinted 1995 1998 All rights - photo 2
Page 4
1994 Broadview Press Ltd.
Reprinted 1995, 1998
All rights reserved. The use of any part of this publication reproduced, transmitted in
any form or by any means, electronic, mechanical, photocopying, recording, or
otherwise, or stored in a retrieval system, without prior written consent of the
publisher or in the case of photocopying, a licence from CANCOPY (Canadian
Copyright Licensing Agency) 6 Adelaide Street East, Suite 900, Toronto, Ontario M5C
IH6 is an infringement of the copyright law.
Canadian Cataloguing in Publication Data
Collins, Wilkie, 18241889
The evil genius
(Broadview literary texts)
lSBN 1-55111-017-2
I. Law, Graham. II. Title. III. Series.
PR4494.E85 1994 823.88 C94-930533-7
Broadview Press Ltd., is an independent, international publishing house, incorporated
in 1985.
North America:
Post Office Box 1243, Peterborough, Ontario, Canada K9J 7H5 3576
California Road, Orchard Park, NY 14127
TEL: (705) 743-8990; FAX: (705) 743-8353;
E-MAlL: 75322.44@compuserve.com
United Kingdom:
Turpin Distribution Services Ltd., Blackhorse Rd., Letchworth, Hertfordshire SG6 IHN
TEL: (1462) 672555; FAX: (1462) 480947; E-MAIL: turpin@rsc.org
Australia:
St. Clair Press, P.O. Box 287, Rozelle, NSW 2039
TEL: (02) 818-1942; FAX: (02) 418-1923
www.broadviewpress.com
Broadview Press gratefully acknowledges the support of the Ontario Arts Council, and
the Ministry of Canadian Heritage. We acknowledge the financial support of the
Government of Canada through the Book Publishing Industry Development Program
for our publishing activities.
PRINTED IN CANADA
Page 5
CONTENTS
Introduction
7
Footnotes
26
A Note on the Text
31
Select Bibliography
33
William Wilkie Collins: A Brief Chronology
36
The Evil Genius
43
Appendix: Contemporary Documents
353
Explanatory Notes
369

Page 7
INTRODUCTION
To borrow a phrase from robert browning's bishop Blougram, Wilkie Collins consistently occupied "the dangerous edge of things" in Victorian life and letters.1 His family life straddled the bourgeois and the bohemian: he was born into a pious Tory household, but refused to marry; he frequented prostitutes in his youth, kept two mistresses concurrently in his maturity, and left three illegitimate children at his death; yet he seems to have successfully concealed these facts from his mother, many of his acquaintances, and most of his readers. His socio-political ideas were a curious combination of the radical and the conservative: frequently pleading the cause of "fallen" women, he was less sympathetic to bourgeois women's demands for the right to vote and to enter the professions; his spirited campaigns against contemporary abuses sometimes shifted towards a reactionary railing against the spirit of the time. A contemporary of both Charles Dickens and Henry James, his writing career bears witness to the opening up of the divide between "serious" and ''popular'' culture: the genre he was most drawn to, the sensational romance, was often disparaged as "female"; he was torn between the roles of artist and journalist, between the demands of the bourgeois literary establishment and those of the mass reading public. On his death, when proposals were made for the writer to be commemorated in Westminster Abbey, objections were raised on both moral and literary grounds, and instead a "Wilkie Collins Memorial Library of Fiction" was established at the People's Palace in East London.2
For much of the twentieth century, Collins's rather marginal literary reputation rested on the claims of The Woman in White to be among the best Victorian mystery novels, and of The Moonstone to be the first detective novel, while his remaining twenty or so novels, dozen or so plays, half a dozen collections of stories, and several works of non-fiction were virtually ignored. In the last decade or so, however, his writ-
Page 8
ing career as a whole has started to come back into focus, initially because of the renewed interest in the sensation novels of the 1860s from within Women's Studies,3 and latterly in association with the centenary of his death in 1989, an occasion which helped to generate two new biographies,4 four book-length critical works,5 and at least half-a-dozen new editions of novels that had long been difficult to obtain. Perhaps the same dangerous, slippery qualities of life and work which repelled many of his contemporaries are what now make him attractive.
For a long time the development of Collins's fiction after The Moonstone tended to be seen as a steady degeneration to be explained in personal terms: the gradual loss of imaginative power due to the effects of illness and drugs, and/or an increasing didacticism following the death of Dickens and his replacement as Collins's literary mentor by Charles Reade. While recent reappraisals of Collins's work have not questioned the pre-eminence of the novels of the 1860s, they have shown convincingly that any subsequent decline is remarkably uneven, and requires explanation in socio-cultural as well as personal terms. In fact the three novels of the mid-1880s,
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