George Gissing Books

I'm beginning to realize that George Gissing is an author who is relatively unknown by the general public but who is frequently studied/referenced by academics. The main reason why I think this is true (and this relates to the book at hand) is that Gissing himself had more of an academic temperament than a writing temperament. He was very adept at analyzing the world around him and commenting on it to a point of depressing realism, but he wasn't a storyteller. In fact, he struggled with creating enough storylines in order to support himself. Thus, while his books give impressive looks at Victorian life, they don't always leave a reader fully satisfied.

Why do I say this so confidently? Well, as Gissing was particularly self-aware and as he was particularly oppressed when writing "New Grub Street," in this novel he writes about what it's like to be a writer in London in the 1880's and 1890's. He essentially writes about his own life and those he find around him, all of whom are trying to make a living on writing.

Gissings seems to portray himself through the main character, Reardon. When the story opens, Reardon is struggling. His sophisticated wife is getting fed up with their impoverished lifestyle and with her husband's inability to write decent material. Reardon, a sensitive soul, is floundering under mounting pressure and stress. He is torn between his desire to write sophisticated, meaningful material and the public demand for "fluff." The more stressed laid on him, the less he is able to create and stick with any plausible fiction novel. He becomes more and more fererish and unable to work, and he is devastated as he loses his wife's love and respect.

Around this central character Reardon, Gissing builds a very full and weighty cast of characters. A small sampling of these characters are:
- The embittered, older column writer/reviewer, Yule, whose temperament has made so many enemies during his career that he is still laboring hard to support his small family at the end of his life.
- Yule's daugher, Marion, who is very clever but who is also very vulnerable. Her education has made her too good for many positions and marriages but her lack of money makes her a poor match for the educated class.
- Reardon's friend Milvain, who is an ambitious young man who has no problem writing exactly what the masses want. He knows his talents, he knows the market, and he knows his stuff won't last for posterity. But he is determined to live a comfortable life, make a strategic marriage and become a semi-respected man.
- Biffen, another friend of Reardon's, sympathizes most with Reardon's situation and condition. Two peas in a pod, these men spend long hours discuss meter, prose and ancient poetry.

I found myself continually amazed at Gissing's amazing ability to get into the head of many individuals in his large cast and to see how the world makes sense through each's eyes. Gissing also provides us with a wealth of information about the Victorian publishing scene. It was amazing to read that writers and publishers then were struggling with the same issues writers and publishers are struggling with today.

Additionally, Gissing gives you an unglorified look at poverty and the impoverished educated class of London at that time. While Dickens' works on the poor is idyllic and sentimental, Gissing simply relates the life he has known. There is nothing exceptional or amazing, and Gissing seems to argue that poverty takes character out of a man rather then build up a man's character.

Overall, I found this to be a fascinating piece...though perhaps a slow read. For those interested in publishing, writing, realistic portrayals of Victorian England, or other such topics, this is a fantastic work.

Poor Gissing! I suspect his miserable, self-destructive life fuelled his wonderful novels much as (we now know) Dickens's traumatic "blacking-factory" experience explains so much of the nightmare world of those gargantuan fictions. Gissing greatly admired Dickens, and like Dostoyevsky, seems to have appreciated the grim side of Dickens most. Not much humor in Gissing; but there is the same shabby poetry one used to see in Bloomsbury back in the 1960s. The same wonderful appreciation of futile, obsessive scholarly lives. Gissing is a great poet and sometimes a rather fine moralist. His pictures of London rival those of the Master (Dickens --and Dore). Don't miss him. Start with "Workers in the Dawn" and "The Nether World"--his passion more than compensates for his crudities. Remember: he was also a very accomplished classicist--more of a scholar than any other major Victorian novelist! A not insignificant fact.

George Gissing's 1891 novel, "New Grub Street," is likely one of the most depressing books I've ever read. Certainly, in its descriptions of literary life, be it in publishing, or in my own realm of graduate scholarship, the situations, truths, and lives Gissing portrays are still all too relevant. "New Grub Street" itself points to the timelessness of Gissing's portrayals - as Grub Street was synonymous, even in the eighteenth century with the disrepute of hack writing, and the ignominy of having to make a living by authorship. One of Gissing's primary laments throughout the novel is that the life of the mind is of necessity one which is socially isolating and potentially devastating to any kind of relationships, familial or otherwise. "New Grub Street" gives us a world where friendship is never far from enmity, where love is never far from the most bitter kinds of hatred.

The anti-heroes of "New Grub Street" are presented to us as the novel begins - Jasper Milvain is a young, if somewhat impoverished, but highly ambitious man, eager to be a figure of influence in literary society at whatever cost. His friend, Edwin Reardon, on the other hand, was brought up on the classics, and toils away in obscurity, determined to gain fame and reputation through meaningful, psychological, and strictly literary fiction. Family matters beset the two - Jasper has two younger sisters to look out for, and Edwin has a beautiful and intelligent wife, who has become expectant of Edwin's potential fame. Throw into the mix Miss Marian Yule, daughter of a declining author of criticism, whose own reputation was never fully realized, and who has indentured his daughter to literary servitude, and we have a pretty list of discontented and anxious people struggling in the cut-throat literary marketplace of London.

Money is of supreme importance in "New Grub Street," and it would be pointless to write a review without making note of it. As always, the literary life is one which is not remunerative for the mass of people who engage upon it, and this causes no end of strife in the novel. As Milvain points out, the paradox of making money in the literary world is that one must have a well-known reputation in order to make money from one's labours. At the same time, one must have money in order to move in circles where one's reputation may be made. This is the center of the novel's difficulties - should one or must one sacrifice principles of strictly literary fame and pander to a vulgar audience in order to simply survive? The question is one in which Reardon finds the greatest challenges to his marriage, his self-esteem, and even his very existence. For Jasper Milvain and his sisters, as well as for Alfred and Marian Yule, there is no question that the needs of subsistence outweigh most other considerations.

"New Grub Street" profoundly questions the relevance of classic literature and high culture to the great mass of people, and by proxy, to the nation itself. For England, which propagated its sense of international importance throughout the nineteenth century by encouraging the study of English literature in its colonial holdings, the matter becomes one of great significance. The careers of Miss Dora Milvain and Mr. Whelpdale, easily the novel's two most charming, endearing, and sympathetic characters, attempt to illustrate the ways in which modern literature may be profitable to both the individual who writes it and the audiences towards which they aim. They may be considered the moral centers of the novel, and redeem Gissing's work from being entirely fatalistic.

"New Grub Street" is a novel that will haunt me for quite some time. As a "man of letters" myself, I can only hope that the novel will serve as an object lesson, and one to which I may turn in hope and despair. The novel is well written, its characters and situations drawn in a very realistic and often sympathetic way. Like the ill-fated "ignobly decent" novel of Mr. Biffen's, "Mr. Bailey, Grocer," "New Grub Street" may seem less like a novel, and more like a series of rambling biographical sketches, but they are indelible and lasting sketches of literary lives as they were in the original Grub Street, still yet in Gissing's time, and as they continue to-day. Very highly recommended.

I found Jasper Milvain, the "alarmingly modern young man," to be the most interesting character in Gissing's New Grub Street for a number of reasons, the most significant of which is that he evinces what can only be considered a modernist's consciousness in his approach to writing. That is, while it soon becomes clear to the reader that Milvain represents the antithesis of what Edwin Reardon personifies-i.e., the work of literature as an emanation of author's native genius-and thus one of the intercalated plots of the novel involves the incremental success of Milvain as a modern man of letters, and the concomitant gradual abjection of Reardon. In a manner of speaking, then, Milvain and Reardon's fates emerge from a common source, namely some sea change in the reading public's (the consumer's) preferences and tendencies.

Milvain identifies as vulgar the most lucrative market for the product of the man of letter's labor. The vulgarians, or "quarter educated," drive the market (479), and since they have been determined to desire nothing more than chatty ephemera, they have successfully opened an insuperable gulf between material success in writing and artistic success. Reardon's psychologically penetrating novels just aren't in demand. Therefore, there emerges quite an interesting conceptual shift within the nascent hegemony of the quarter-educated as established by their purchasing power: what was once considered healthy artistic integrity has transmuted into a peculiar kind of petit bourgeois hubris, if, in the new paradigm, the writer is more an artisan than an artist. Therefore, Reardon's artistically-compromised and padded three-volume novel, written with no other end in mind than to pander to the vulgar reader, nonetheless achieves only modest success because, the fact that it is indistinguishable from countless other similar works glutting the market aside, his novel is infected from his irrepressible integrity, and thus his novel becomes a strange sort of counterfeit, a psychological narrative masquerading as a popular novel. Reardon thus becomes a sort of Coriolanus among writers.

Milvain, on the other hand, is a sort of Henry Ford among writers; he reveals his particular genius when offering advice to his sister Maud about how to write religious works for juveniles: "I tell you, writing is a business. Get together half-a-dozen fair specimens of the Sunday school prize; study them; discover the essential points of such a composition; hit upon new attractions; then go to work methodically, so many pages a day" (13). In other words, Jasper has managed to streamline and to mechanize the writing process. He studies previous works, abstracts formulae from them, isolates the elements of these formulae, and then deploys and rearranges these elements to give his own writing a patina of originality. By treating writing as an exercise in manipulating formulae, Jasper exchanges "authenticity" (whatever that word means anymore) for the convenience and efficiency of not having to grapple with his own potentially mutable and recalcitrant genius. Jasper did not invent writing, just as Ford did not invent the automobile. But like Ford did with automobile manufacture, Milvain discovers those aspects of writing that lend themselves to mechanical reproduction. Thus he is able to capitalize on his time and effort, and effectively becomes the very machine Reardon believes himself to be but never actually becomes because of his lingering notions of artistic integrity (352).

Also of interest is the fact that Albert Yule is a sort of synthesis of Milvain and Reardon. Like Milvain, Yule attempts to streamline his own literary production by delegating some of the labor to his daughter Marian. However, like Reardon, Yule clings to the superannuated notion of the necessary individuality of writing: "[h]is failings, obvious enough, were the results of a strong and somewhat pedantic individuality ceaselessly at conflict with unpropitious circumstances" (38). In other words, Yule fails to recognize the obsolescence of the lone, learned genius within the realm of literary production. A market of vulgarians who demand occasional literary confections simply does not expect Works of individual genius. Moreover, even if they were in demand, works of individual genius are too ponderously inefficient to keep pace with the rate at which they are consumed. Therefore, Yule straddles the either/or proposition personified by Reardon and Milvain: One may preserve his artistic integrity and write "for the ages"--hence Yule, Biffen, and Reardon's fetishization of Shakespeare, Coleridge and authors of classical antiquity--and starve in the process, or one may write "for the moment" and actually turn a respectable profit.

The shadow of Charles Darwin indeed looms large over the events and characters of New Grub Street. The growth market brought about by the advent of the "quarter-educated" vulgar class, and their discretionary income coupled with their callow aesthetic sensibilities and truncated attention spans, represents a nascent economic, if not ecological niche, for certain social creatures to occupy. However, it's not simply a matter of being able to adapt one's skills to the tastes of these consumers. One must also be a prodigious enough writer to keep pace with an equally prodigious rate of consumption. Individuals like Milvain and Whelpdale are adequately adapted to this niche in that they satisfy the demands of this niche in terms of both content and output. Reardon panders to the vulgar taste only grudgingly and after long resistance and thereby cannot meet the production demands of this niche. Biffen absolutely refuses to pander at all. Alfred Yule does attempt to pander, but his mode of literary production is too inefficient to meet production demands, and he is also largely ignorant of vulgar literary taste. While more in touch with the vulgar reader than her father, Marian Yule is as inefficient in her literary production as her father. Therefore, each of the characters named above are equally maladaptive, albeit for various reasons, and thus their extinction by the novel's end strikes the reader as somehow inevitable. Whereas Milvain and Reardon's widow Amy are left to come together as the triumphant niche occupants and thus reproduce themselves in their offspring, should they decide to produce any.

I recently read New Grub Street, and I must say I was stunned by how much I enjoyed it. Gissing's prose and characterization hold up remarkably well. He's sort of an urban Hardy, though far more accessible to today's reader. I'd recommend this to any serious reader. Oh, and this novel is ripe for adaptation. A BBC miniseries would be great.

The author of this book is Brian Boru Dunne (1878-1962). The editors of this remarkable memoir want to point out that it is unlike anything we might expect from one writer memorializing another. Brian Dunne was a very young man from an Irish-American family, who had recently studied in a Belgian college with princes of the aristocratic de Croy family, met Gissing by accident in Siena, and then spent several months with him in Rome. The Roman period was an unusually happy one for Gissing, who entertained H.G. Wells and socialized with many important people there, including such other writers as Arthur Conan Doyle and Ernest Hornung. As Gissing's frequent companion, Dunne wrote it all down in his diary, preserving a record of their daily escapades and quotidian conversations in the fresh, unguarded manner of a young man whose mind was uncluttered by any adult protocol, social philosophy, or professional agenda. He went on to become the city editor of the Santa Fe New Mexican, met and interviewed most of the leading figures of the day, and wrote several memoirs which will be published in due time. In Gissing's case, he remained faithful to his diary and produced a lively, vivid, and patently authentic account aof a man who was regarded as one of the leading novelists of the time. Paul F. Mattheisen

As a long-time student of George Gissing's work and one of his first biographers, I was delighted to read this vivid and perceptive first-hand account of his activities and opinions. Few people who knew Gissing personally have left memoirs of him, and Dunne's is certainly the fullest up-close portrait that we have. He describes Gissing's writing and eating habits, his attention to clothes, his reactions to Italy and his people, and his opinions of other writers, and all this helps to clarify the novelist's character. I especially appreciated the excellent informative notes, which provided much needed background, and brought Dunne himself forward as an interesting and significant figure.

I stumbled onto George Gissing two years ago through his travel classic "By The Ionian Sea: Notes on a Ramble Through Southern Italy." I had not read much late-Victorian writing, except for brief forays into Thomas Hardy. Now I have found a new champion -- George Gissing -- and am discovering that post-industrial era through his works. In this process, I discovered Dunne's delightful memoir and was drawn to it because it recalled a time in Gissing's life when he seem most happiest: his 1897-1898 tour of Southern Italy, the setting for "By the Ionian Sea." Dunne's memoir -- wonderfully edited to fully explain all references, from obvious to obscure -- can be read on more than one level. First, it gives a vivid recounting, through an innocent young journalist's eyes that miss little, of a golden three or four months or so in Rome, hobnobbing with Gissing and two other Victorian writers, H.G. Wells and Arthur Conan Doyle. It also can be seen as "a work in progress" where the reader can examine how Dunne, by now in middle age and an accomplished writer in his own right, moved from diary through drafts of memoirs. And particularly important for the Gissing enthusiast is the introduction, which puts the era in perspective and paints a vivid picture of the players in Dunne's Roman holiday.

Out of left field, from the editors of The Collected Letters of George Gissing, comes a refeshing new view of Gissing--plus some charming turn-of-century Americana. The oddly successful combinaton comes about in this way. When the English novelist, desperate to escape for a time from his miserable marriage, visited Italy in 1897-98, he met there a 20-year old American traveller named Brian Boru Dunne. The precocious young man, who would later become a journalist in Santa Fe, New Mexico, kept a diary of their conversations over several months, recording Gissing's opinions on literature, modern and ancient Rome, and everything else that interested them. Years later, he wrote p some of his notes. The diary is lost, but the editors have used Dunne's surviving materials to create a fascinating portrait that shows us a more unbuttoned and humorous Gissing than we knew. Because Dunne is worthy of interest in himself, they have seen fit to include some other pieces: William Jennings Bryan's unconsciously hilarious rules for oratory; Cardinal Gibons' recipe for longevity; and an interview with Mark Twain written by Twain himself. Their 40-page introduction to Dunne and Gissing is unexpectedly fascinating. The voluminous footnotes explain so much, and in such style, that they are an integral part of the reading experience. This beautifully produced, amusing, and illuminating miscellany should attract all Gissing readers, and they will be rewarded by more than they bargained for.

SINCE I OWN THE 104 YEARS OLD SET OF BOOKS, I ENJOYED READING THIS AND WRITING NOTES [IN THE MARGINS] FOR SCHOOL CLASSES. THIS IS IMPOSSIBLE WITH THE OLD BOOKS..IT WOULD DESTORY THEM...AND AMAZON WILL FIND A BOOK FOR ANYONE IF THE QUESTION IS ASKED. THANKS AMAZON FOR RESEARCH...DORAN E. FIGART

I rate this book 5 stars because it gives you all the information you need on gissing. I had to write a four page paper on him and it gave me everything I needed. I wish that there were more books in the world that gave that much information on one single, simple little subject. I haven't seen a book in years that has actually had all the information you need all in one book. I didn't have to find 6 or 7 books just to write a 3 or 4 page paper. I exceeded my number of pages and my teacher gave me an A on the paper and it brought my grades alot and he told me if I would keep writing papers like that then I would have and A in his class I am glad that I made that grade now I can complete other papers like that and get a higher grade in a class.

SINCE I OWN THE 82 YEARS OLD BOOK, I ENJOYED READING THIS AND WRITING NOTES [IN THE MARGINS] FOR SCHOOL CLASSES. THIS IS IMPOSSIBLE WITH THE OLD BOOK..IT WOULD DESTORY THIS BOOK...AND AMAZON WILL FIND A BOOK FOR ANYONE IF THE QUESTION IS ASKED. THANKS AMAZON FOR RESEARCH...DORAN E. FIGART

One of my favorite short story collections. The situations and problems the characters encounter are far removed from those of today's world, but it's easy to see why these stories were so popular when they were first written. It's a step back in time to read this collection.

The Private Papers of Henry Ryecroft by George Gissing is part novel, part
autobiography and partly a book of brief essays or reflections on various subjects.
The book was published in 1903, the year that Gissing died. It presents a mellowed
cynical author who after a difficult life spent mostly in London is given a legacy of an
annual annuity which enables him to retire in solitude to a country cottage in Devon
county, England. Here he writes down his reflections ranging from the philosophical
meaning of life to comments on simple daily life. There is much about reading, books and
authors (Holbrook Jackson in his The Anatomy of Bibliomania has many references to
George Gissing). There are comments about nature walks in the country, memories of
past events in London, visits to special places. There is discussion of English culture,
customs and even of culinary arts. Gissing was not a Christian but in this book he shares a
generally positive view of the influence of Christianity on England. He had in his own life
also found solace in the Stoic philosophers, particularly Marcus Aurelius. My own
personal copy of this book is the Oxford University Press 1987 paperback edition in their
World's Classics series, with editorial notes by Mark Storey. I first read the volume late
in 1990 as I was looking forward to my own gradual retirement to small town life. I have
just read it again in early January 2004 with as much pleasure as I first read it.

This novel examines the qualities of character that lifted (or sank) persons of the working and monied classes of Victorian England. It is similar in tone to Gissing's "Eve's Ransom" in that it observes how a principled young man might navigate difficult dilemmas. It is similar to that book also because it uses romance among the young adults as a way of forwarding the plot.

This was written during Gissing's final months, when he was dying of emphysema. It was published posthumously. The author's struggles with energy are evident in the short chapters and in the somewhat under-developed story. On the other hand, the spare, straight-ahead quality of the novel give it a briskness and tempo missing in the more philosophical novels like *Born In Exile.* Even in these compromised writing conditions, Gising's talent shines bright. I found it difficult to put the book down, especially in the second half.

George Gissing was a complex person. He was a brilliant pupil destined for great things in London's society, but he threw it all away when he was caught stealing money. He as going to give this money Nell Harrison, a young prostitute with whom he was infatuated. Because of this grave mistake, he went to prison for a short time and then to America where he taught school and wrote short stories for a Chicago newspaper. He eventually returned to England but never rose from the humiliation he suffered when caught stealing.

This humiliation had ramifications on his thoughts about society also. He had two attitudes toward the poor. He sympathized with the "deserving" poor but hated the rest in that he believed poverty corrupted the human soul and any correction of the ill was futile.

The novel, Will Warburton, is about this guilty secret. Warburton runs a grocery store when he loses his money by loaning it to his "friend" who always fails in sudden business ventures. Though Gissing's eyes, Warburton therefore potentially suffers the humiliation of middle class eyes that Gissing himself always feared. Warburton is "just a grocer" and can never rise again above that "class."

Though it is one of Gissing's minor writings, it is a complex novel but an enjoyable one. If you can get a copy, read it for a different view of Victorian life and mores.

This is a lesser-known classic that deserves more recognition that it gets. It is a novel about the plight of single "old maid" women during the victorian era. Back then, women who would not or could not get married were condemned to a life of poverty and despair. They survived only by working in sweat shops and nearly starving to death. They were the objects of ridicule and amusement, fear and anxiety. This book delves into all of these facets and also that of the misery of married women who marry a man only to avoid being single. Although the book has a strong feminist bent, it is still good reading and opens one's eyes to the ill treatment that women formerly underwent in times past and the shocking attitude of society.

If you haven't already, read this book NOW. It is as relevant today as it was the day it was written, the day I first read it as a ninth-grader, and the 5-10 times I've read it since. I have been recommending this remarkable book to serious readers for 25 years and have never heard anything but praise for this incisive social commentary that is as important a work as all the "important" books everybody has heard of (think Edith Wharton, Ernest Hemingway, J.D. Salinger, Willa Cather, F. Scott Fitzgerald, Theodore Dreiser, etc.) except most people have never heard of it. Read and recommend!

The other review posted and the editorial reviews do a much better job than I could in summarizing this story. However, I would like to comment on its insight & current applicability.

As mentioned, "The Odd Women" is about the women who don't get married for one reason or another. In the Brittish Victorian era, there was still a strong stigma against such women...that their one true goal & purpose in life is left unfulfilled. You enter into this cultural assumption almost as soon as you pick up the book.

What is new in this book was the very beginnings of the feminist uprising. Women were starting to rebel against such unfortunate and uncontrollable circumstances in their lives. And they began - out of financial considerations - to learn more masculine disciplines in order to make their own way in the world. At first, you think that this is encouraging and will naturally lead to peace & prosperity for the women...after a bit of struggle to raise the glass ceiling enough to get the women in the doorway.

I think where Gissing goes with the novel, however, is spectacular. Rather than showing such ideal outcomes, Gissing shows through Monica's character that the issue of women having careers wasn't just a matter of training. Women did not look to salvation through work. Most secretly longed for marriage while they were being trained, and some couldn't even focus their minds enough to take in the education. As shown through Monica's character, the women still would rather be trapped in loveless marriages than work.

In addition to developing this kink in the feminist plan, Gissing develops Rhoda's character in an even more dynamic manner. His insight into her strict, stiff, uncaring manner was piercing. He showed how her facad was based on her need to prove herself worthy in some manner; and this need rose from her not having received the attentions from a man. By bringing a desirable man into her life, Rhoda's whole philosophical system breaks down. The power struggle between these two is worth reading, even if a little masculine in its outcome.

In this way, Gissing continues to unveil how dependent these women's worlds still were on men. Even if they didn't want to be...even if they didn't have the choice to be, an idealic philosophy alone could not change these women's most secret desires and nature. It's a disturbing realization to behold.

But Gissing isn't degrading women. His insight is penetrating...especially for a man of his times...but he balances out his story well. He shows in a good way how a professor's long-awaited marriage helps him to become a much more fulfilled, well-rounded man. And, though pathetic, Monica's husband is clearly lonely & lost without a woman by his side. Gissing shows the men in this tale to be completely as in need of women (and desirous of companionship with them) as the women are of men.

In this way, Gissing's revelations lead one to somber despair. One realizes that the feminist uprising comes not out of a desire to truly work but out of an economic need and dignity of women for whom things did not work out. The story is not one of an pioneering spirit but rather of resignation to how things don't always work out and how people slip through the cracks.

Thus, while the historical and sociological insight Gissing provides is invaluable, his story has much to say in our times as well...and he says in such a way that I don't think most would have the courage to now.

"In The Odd Women there is not a single major character whose life is not ruined either by having too little money, or by getting it too late in life, or by the pressure of social conventions which are obviously absurd but which cannot be questioned." --George Orwell

George Gissing was a very odd man himself. Despite the fact that all his novels deal with social issues of the day, notably women, money, and class relations, he was neither a socialist nor a social reformer. He simply described in novels what he knew of degredation, misery, and the tortures "respectable" English society inflicted upon its outcasts and marginal figures. In The Odd Women Gissing chose to focus on the predicament of the extra females of Britain's disproporionate population ratio. These were the "odd" women who would never be matched with a man. Gissing's Madden sisters endured a representative sampling of the a dreary employment opportunities available for genteel but impoverished women in the 1890s. Of the two eldest Madden sisters, Alice was a governess until her health broke down; Virginia was lady's companion (poorly-paid drudge to an elderly tyrant) who has suffered from "mental lassitude" and taken to secret drinking. Another sister, a luckless "hard-featured" girl, is dead before the story begins; she taught in a girl's school until she committed suicide in despair. Monica, the youngest and only good-looking sister, spends twelve to sixteen hours a day on her feet in a large dry-goods shop and lives in an unsanitary dormitory with other shopgirls, some of whom supplement their wages by prostitution. Her sisters fear that Monica's health will also break down under this regime, and that she will lose her looks and her chance of marriage.

Enter Miss Rhoda Nunn and Miss Elinor Barfoot, two enterprising women who have founded a school to teach "odd" women business skills to enable them to compete economically, or at least rise above the general level of ill-paid drudgery. Barfoot and Nunn are early feminists; they wish to live and teach other women to live without feeling diminished by their unmarried status. Monica Madden considers enrolling in their school, but she has managed to meet and attract a man, a middle-aged bachelor named Widdowson, whom she marries instead. The substance of the novel involves the wreck of Monica's life following her disastrous marriage, and Rhoda Nunn's struggle to deal with her relationship with a man she is attracted to, but whom she cannot marry or live with without suffering diminishment and the loss of her role as a teacher and leader.

Gissing's book is a serious and sympathetic treatment of the much-discussed "woman question," and written from a point of view somewhat in advance of his time. The Odd Women has been mostly out of print for the last hundred years, and it is to be hoped that the recent appearance of three new editions heralds a long-delayed recognition of its merits.

Mr. Gissing's tome of feminine insanity: the fickleness,
the crass behavior, and women's inability to balance mind and matter: All encompass how women have not changed through time.