The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier by Mary Elizabeth Leighton and Lisa Surridge

Reviewed by: The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier by Mary Elizabeth Leighton and Lisa Surridge Julia McCord Chavez (bio) Mary Elizabeth Leighton and Lisa Surridge, The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier (Athens: Ohio University Press, 2019), pp. v + 331, $85.00 hardcover. The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier, by Mary Elizabeth Leighton and Lisa Surridge, provides illuminating new answers to a foundational question for Victorian periodical studies: “How does the form of the illustrated Victorian serial novel invite readers to read?” (2). Drawing upon an impressive range of archival research and invoking an eclectic set of case studies that range from canonical works such as David Copperfield (May 1849–November 1850) and The Small House at Allington (September 1862–April 1864) to lesser-examined works such as The Tower of London (January–December 1840), Griffith Gaunt (December 1865–November 1866), and Peter Ibbetson (June–December 1891), Leighton and Surridge convincingly argue that images and letterpress in Victorian serial fiction most often function as coequal modes of representation that “impel reflective and complex reading strategies” (50). Anchoring their analysis in narratology, the theory of how fiction is narrated, Leighton and Surridge demonstrate that illustration does more than simply picture a novel’s text; instead, images add complexity and “thicken” serial plots by infusing Victorian novels with a second source of narrative influence (19). Interdisciplinarity is at the heart of The Plot Thickens, and this is reflected in an astute methodology that embraces historical, materialist, and formalist approaches to the illustrated Victorian serial. The introductory chapter, “Material Matters,” provides a detailed history of the developing technologies of book illustration (from steel etchings and engravings [End Page 806] to wood engravings to photomechanical reproduction); an overview of the Victorian literary marketplace informed by the work of Robert L. Patten, Brian Maidment, Julia Thomas, Linda K. Hughes and Michael Lund, Catherine Golden, Lorraine Janzen Kooistra, and others; and a new theoretical lens for reading serial illustration. The innovative application of narratology to images as well as letterpress is a significant contribution to the field of periodical studies because it provides a precise vocabulary for describing verbal-visual relationships. As Leighton and Surridge point out, “Narratological terms—such as prolepsis, analepsis, mimesis, diegesis, iteration, repetition, and extradiegesis—can help us to identify and understand these complex relationships between visual and verbal plots” (20). The remaining chapters of the book, grouped by genre, apply narratological analysis to representative texts from the birth of the format in the 1830s through the waning of the serial novel during the fin de siècle. The first chapter focuses on the genre of autobiography through two case studies: Charles Dickens’s David Copperfield, illustrated by Hablot K. Browne, and Elizabeth Gaskell’s Cousin Phyllis (November 1863–February 1864), illustrated by George Du Maurier. Analyzing the representation of reading and the presence of word pictures within these illustrated serials, Leighton and Surridge argue that “the technology of the illustrated book became a potent metaphor for inner life, memory, and self making” (53). Historical serial fiction is the focus of chapter two, which examines The Tower of London by William Harrison Ainsworth with illustrations by George Cruikshank, William Makepeace Thackeray’s self-illustrated Vanity Fair (January 1847–July 1848), and Charles Dickens’s A Tale of Two Cities (1859). Looking specifically at the two dominant modes of visual historical representation—metaphorical and metonymic—the authors argue that the illustrations in each example interact with the letterpress to produce a distinctive theorization of historical change. The Tower of London uses metonymic wood engravings, for example, to inspire readers to preserve national monuments. Vanity Fair, on the other hand, “deploys verbal and visual sign systems to play ironically with both imagined scenes and metonymic representations of the past” (95). Even two different illustrated versions of the same novel, in the case of A Tale of Two Cities, provide contrasting visions of history. The American version in Harper’s Weekly (May 7–December 3, 1859), illustrated by John McLenan, uses “matching mimesis” to create for readers “an illusion of immediacy and immersion in history” (95). In contrast...

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