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- 1.
Virginia Woolf, “Old Bloomsbury,” in The Bloomsbury Group: A Collection of Memoirs and Commentary, ed. Stanford Patrick Rosenbaum (Toronto: University of Toronto Press, 1995), 55.
- 2.
Ana Parejo Vadillo, Women Poets and Urban Aestheticism: Passengers of Modernity (Basingstoke: Palgrave Macmillan, 2005), 38–77 and 40.
- 3.
For an inventive blueprint for reading Victorian fiction’s bachelors as potentially queer, see Holly Furneaux, Queer Dickens: Erotics, Families, Masculinities (Oxford: Oxford University Press, 2009), 22–106.
- 4.
Lawrence Knopp, “Sexuality and Urban Space: A Framework for Analysis,” in Mapping Desire: Geographies of Sexualities, ed. David Bell and Gill Valentine (London: Routledge, 1995), 149–51.
- 5.
“London Bachelors and their Mode of Living,” Leisure Hour (May 1886): 349.
- 6.
For an ingenious queer reading of The Wrong Box, see Oliver S. Buckton, Cruising with Robert Louis Stevenson: Travel, Narrative and the Colonial Body (Athens: Ohio University Press, 2007), 40–54.
- 7.
Arthur Conan Doyle, “The Musgrave Ritual,” in The Memoirs of Sherlock Holmes (London: Penguin, 2008), 114–15.
- 8.
For a discussion of the figure of the bachelor, largely in American fiction, see Katherine Snyder, Bachelors, Manhood and the Novel: 1850–1925 (Cambridge: Cambridge University Press, 1999).
- 9.
See Amanda Vickery, “Golden Age to Separate Spheres? A Review of the Categories and Chronology of English Women’s History,” Historical Journal 36 (1993): 383–414.
- 10.
Sharon Marcus, Apartment Stories: City and Home in Nineteenth-Century Paris and London (Berkeley: University of California Press, 1999), 83–134. See also Terri Mulholland, British Boarding Houses in Interwar Women’s Literature: Alternative Domestic Spaces (London: Routledge, 2017), 1–21.
- 11.
“The Bohemian in Bloomsbury,” Saturday Review, 17 September 1904: 350.
- 12.
Dickens, Sketches by Boz, 276.
- 13.
Dickens, Sketches by Boz, 277.
- 14.
Dickens, Sketches by Boz, 280.
- 15.
Gregory Dart, Metropolitan Art and Literature, 1810–1840: Cockney Adventures (Cambridge: Cambridge University Press, 2012), 93.
- 16.
Dickens, Sketches by Boz, 290.
- 17.
Dickens, Sketches by Boz, 309.
- 18.
Dickens, Sketches by Boz, 310.
- 19.
Dickens, Sketches by Boz, 295.
- 20.
Dickens, Sketches by Boz, 303.
- 21.
Juliet McMaster, “‘The Unfortunate Moth’: Unifying Theme in The Small House at Allington,” Nineteenth-Century Fiction 26 (1971): 127–44.
- 22.
“Homes in The Small House are first and foremost houses – uncomfortable, claustrophobic, temporary, fungible; too big, too small, too expensive; let at unconscionably extortionate rents; too isolated or, in the case of Johnny Eames’s boarding house, far too public and sexually unregulated.” Carolyn Dever, “Gross Vulgarity and the Domestic Ideal: Anthony Trollope’s The Small House at Allington,” in Victorian Vulgarity: Taste in Verbal and Visual Culture, ed. Susan David Bernstein and Elsie B. Michie (Farnham: Ashgate, 2009), 141–42.
- 23.
For a helpful analysis of the prevalence and function of late-adolescent masculinity throughout Trollope’s fiction, see Laurie Langbauer, “The Hobbledehoy in Trollope,” in The Cambridge Companion to Anthony Trollope, ed. Carolyn Dever and Lisa Niles (Cambridge: Cambridge University Press, 2011), 113–27.
- 24.
Anthony Trollope, The Small House at Allington, ed. Dinah Birch (1864; Oxford: Oxford University Press, 2015), 456.
- 25.
Trollope, Small House at Allington, 55.
- 26.
Trollope, Small House at Allington, 55.
- 27.
“The Small House at Allington,” Saturday Review, 14 May 1864: 595.
- 28.
“The Small House at Allington,” Saturday Review, 14 May 1864, 595.
- 29.
“The Small House at Allington,” Athenaeum, 26 March 1864: 437.
- 30.
“The Small House at Allington,” Saturday Review, 14 May 1864, 595.
- 31.
Michael FitzGerald, Ragged London: the Life of the London Poor (Gloucestershire: The History Press, 2011), 127.
- 32.
Richard Dennis, “The Place of Bloomsbury in the Novels of George Gissing,” Opticon 1826 7 (2009): 1–10.
- 33.
George Gissing, Workers in the Dawn (1880; Brighton: Victorian Secrets, 2010), 438.
- 34.
Gissing, Workers in the Dawn, 317.
- 35.
Gissing, Workers in the Dawn, 281.
- 36.
Gissing, Workers in the Dawn, 421.
- 37.
Gissing, Workers in the Dawn, 317.
- 38.
Gissing, Workers in the Dawn, 318.
- 39.
Gissing, Workers in the Dawn, 321.
- 40.
See René Girard, Deceit, Desire and the Novel: Self and Other in Literary Structure (Baltimore: Johns Hopkins University Press, 1965).
- 41.
John Cordy Jeaffreson, A Book about Lawyers (New York: G. W. Carleton & Co., 1867), 37.
- 42.
Jeaffreson, Book about Lawyers, 37–38.
- 43.
John Tosh, A Man’s Place: Masculinity and the Middle-Class Home in Victorian England (New Haven: Yale University Press, 2007), 27–52.
- 44.
Anthony Trollope, An Autobiography, ed. P. D. Edwards (1883; Oxford: Oxford University Press, 1980), 2–3. For more on the relationship of Orley Farm, Trollope’s avowed life-writing and metropolitan spatial representation, see Matthew Ingleby, “Multiple Occupancy: Residency and Retrospection in Trollope’s Orley Farm and An Autobiography,” in Life Writing and Space, ed. Eveline Killian and Hope Wolf (Abingdon: Ashgate, 2016), 25–40.
- 45.
Anthony Trollope, Castle Richmond, 3 vols. (London: Chapman & Hall, 1860), 3:108.
- 46.
Trollope, Castle Richmond, 3:108–09.
- 47.
Trollope, Castle Richmond, 3:116.
- 48.
The difficulty of matching the expectations of one’s chambers with those of one’s wife is a prominent feature of the hardworking Bloomsbury married lawyer as he appears in several legal fictions of Trollope . In Orley Farm (1862), the barrister Mr. Furnivall’s previous residence was in Keppel Street, an address his caricatured wife is absurdly nostalgic about, in an inversion of typical spatial anxiety. Her desire to move eastwards, and back down the social ladder, is part of Trollope’s characterization of her as contrary and misguided. Mr Toogood, an inhabitant of Tavistock Square in The Last Chronicle of Barset (1867), is very much happily married, but struggles to provide for 12 children. When he has to leave London to attend to his work in Barchester for the best part of a week, his wife complains to her nephew Johnny Eames about his absence, and guesses that he is probably “spending a good deal of money at the inn,” adding that “It might be all very well if Toogood were a bachelor” (Trollope, The Last Chronicle of Barset, 2 vols. (London: Smith, Elder and Co, 1867), 2:304). Balancing the pressures of the law and the demands of a normative domestic sphere in Bloomsbury seems to force such fantasies. In Lady Anna (1874) meanwhile, the otherwise happy wife of Sergeant Bluestone grows impatient of the continual presence of the young eponymous heroine of the novel in their house in Bedford Square, interrupting as it does the normal social traffic of the domestic scene by preventing her from having anyone round for dinner. Lady Anna’s imprisonment might be seen as a very substantial example of the intrusion of legal work into the Bluestones’ home, as she is hosted there at the request of his client.
- 49.
Trollope, Castle Richmond, 3:123.
- 50.
Jane Austen, Letter to Cassandra Austen (26 November 1815), in Jane Austen’s Letters, ed. Deidre le Faye (Oxford: Oxford University Press, 2011), 313–15.
- 51.
Fiona Stafford, Local Attachments: The Province of Poetry (Oxford: Oxford University Press, 2010), 7.
- 52.
Austen, Emma, ed. Fiona Stafford (1816; London: Penguin, 1994), 80.
- 53.
For a complementary interpretation of Emma’s Brunswick Square, which discusses Harriet’s removal to Bloomsbury by way of the area’s association with illegitimacy and orphans through the Foundling Hospital, see Lisa Zunshine, Bastards and Foundlings: Illegitimacy in Eighteenth-Century England (Columbus: Ohio State University Press, 2005).
- 54.
Austen, Emma, 72.
- 55.
Austen, Emma, 78.
- 56.
Austen, Emma, 224.
- 57.
For readings of Highbury as “suburbanizing” space, see Tara Ghoshal Wallace, “‘It must be done in London’: The Suburbanization of Highbury,” Persuasions 29 (2007): 67–78; Thomas Hothem, “The Picturesque and the Production of Space: Suburban Ideology in Austen,” European Romantic Review 13 (2002): 49–62.
- 58.
Raymond Williams, The Country and the City (London: Paladin, 1975), 143.
- 59.
Cheryl A. Wilson, Fashioning the Silver Fork Novel (London: Pickering & Chatto, 2012), 154.
- 60.
Copeland, The Silver Fork Novel, 204.
- 61.
Catherine Gore, The Hamiltons; or The New Aera, 3 vols. (London: Saunders & Otley, 1834), 1:46.
- 62.
Gore, The Hamiltons, 1:47.
- 63.
Gore, The Hamiltons, 1:48 and 2:265.
- 64.
Gore, The Hamiltons, 1:101.
- 65.
Gore, The Hamiltons, 2:147–48
- 66.
Gore, The Hamiltons, 2:265.
- 67.
Gore, The Hamiltons, 2.266.
- 68.
Gore, The Hamiltons, 2.154 and 1.58.
- 69.
Gore, The Hamiltons, 1.136.
- 70.
Gore, The Hamiltons, 2.161.
- 71.
Gore, The Hamiltons, 2.231.
- 72.
“Panic in Bloomsbury,” Punch, or the London Charivari, October 17, 1863, 156.
- 73.
“What Will He Do With It?,” Universal Review (July 1859),17.
- 74.
Bulwer-Lytton, What Will He Do, 1:385.
- 75.
Bulwer-Lytton, What Will He Do, 1:385.
- 76.
Bulwer-Lytton, What Will He Do, 1:386.
- 77.
Bulwer-Lytton, What Will He Do, 1:387.
- 78.
Peter W. Sinnema, “Between Men: Reading the Caxton Trilogy as Domestic Fiction,” in The Subverting Vision of Bulwer-Lytton Lytton: Bicentenary Reflections, ed. Allan Conrad Christensen (Newark: University of Delaware Press, 2004), 195.
- 79.
Braddon, Letter to Bulwer-Lytton Lytton (28 February 1865), in Robert Lee Wolff, “Devoted Disciple: The Letters of Mary Elizabeth Braddon to Sir Edward Bulwer-Lytton-Lytton, 1862–1873,” Harvard Library Bulletin 22 (1974): 32–33.
- 80.
Mary Elizabeth Braddon, The Lady’s Mile: A Novel, 3 vols. (London: Ward, Lock, and Tyler, 1866), 3:334.
- 81.
Braddon, The Lady’s Mile, 2:107–8.
- 82.
Braddon, The Lady’s Mile, 2:111–12.
- 83.
Braddon, The Lady’s Mile, 2:123.
- 84.
Braddon, The Lady’s Mile, 2:123–24.
- 85.
Braddon, The Lady’s Mile, 2:123–24.
- 86.
Braddon, The Lady’s Mile, 2:124
- 87.
Braddon, The Lady’s Mile, 2:127.
- 88.
Braddon, The Lady’s Mile, 3:334.
- 89.
Braddon, The Lady’s Mile, 2:197.
- 90.
Eve M. Lynch, “Spectral Politics: The Victorian Ghost Story and the Domestic Servant,” in The Victorian Supernatural, ed. Nicola Bown, Carolyn Burdett, and Pamela Thurschwell (Cambridge: Cambridge University Press, 2004), 72.
- 91.
Braddon, Letter to Bulwer-Lytton Lytton (3 November 1868), in Wolff, “Devoted Disciple,” 147. “Hegira,” the Arabic for Mohammad’s flight from Mecca to Medina, treats leaving Bloomsbury for Richmond as a withdrawal out of harm’s way. Braddon had faced in recent years savage criticism of both her morals and writing, the thinly veiled motivation for such vitriol being the fact that she was living unmarried with the publisher John Maxwell and his children in their house in Mecklenburgh Square.
- 92.
Braddon, Letter to Bulwer-Lytton Lytton (January 1865), in Wolff, “Devoted Disciple,” 32.
- 93.
See Robert Lee Wolff, Sensational Victorian: The Life and Fiction of Mary Elizabeth Braddon (New York: Garland Publishing, 1979) and Jennifer Carnell, The Literary Lives of Mary Elizabeth Braddon: A Study of her Life and Works (Hastings: Sensation Press, 2000).
- 94.
Braddon’s vacillation about the moment in which she moves from bohemian Bloomsbury to the rich, more conventional, suburbs, can be read as a hesitation before a kind of currency exchange, in which one kind of capital is converted for others, a “social reconversion” that, in Bourdieu’s words, often results in “spatial translation,” as discussed in Chap. 1.
- 95.
Lyn Pykett, introduction to Mary Elizabeth Braddon, The Doctor’s Wife (1864; Oxford: Oxford University Press, 1998), ix.
- 96.
See Tamara Wagner, “Stocking up Paper Fictions: Making, Selling, and Living the Fictitious in the Self-Portraiting of the Victorian Popular Novelist,” in Auto-poetica: Representations of the Creative Process in Nineteenth-Century British and American Fiction, ed. Darby Lewes (Lanham: Lexington Books, 2006), 15–38; Kyriaki Hadjiafxendi, “Negotiating Fame: Mid-Victorian Women Writers and the Romantic Myth of the Gentlemanly Reviewer,” in Crafting the Woman Professional in the Long Nineteenth Century: Artistry and Industry in Britain, ed. Hadjiafxendi and Patricia Zakreski (Farnham: Ashgate, 2013), 197.
- 97.
Bulwer-Lytton, What Will He Do? 1:385.
- 98.
Dickens, Sketches by Boz, 338.
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Ingleby, M. (2018). Bloomsbury Versus the Marriage Plot: Boarding-House and Barrister Bachelors. In: Nineteenth-Century Fiction and the Production of Bloomsbury. Palgrave Studies in Nineteenth-Century Writing and Culture. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-54600-5_3
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