We read the book, and the book is reading us. In his later novels, Charles Dickens uses the interaction between characters and their audiences within the fiction to dramatise his growing understanding of the pivotal role of spectatorship and choice in a more democratic society. Egotists of all stripes, intent on bending the world to their singular will, would appropriate the power of spectatorship by taking command of the detachment necessary for choice. Dickensâs pluralistic art of sameness and difference redefines that detachment, and liberates choice both inside and outside the novels, for the relationship between characters and their audiences within the narratives actually inscribes our own relationship with them in the performance of reading, a reflective doubling of the fiction upon the reader across time with moral consequences for our spectatorship of our own lives.
Keith Easley (PhD 2010, Aichi Shukutoku University) has taught at Nanzan and Aichi Shukutoku Universities in Japan. He is the author of Dickens and Bakhtin: Authoring and Dialogism in Dickens's Novels, 1849-1861 (2013).
Acknowledgements
Introduction
â1âDemocracy: Political and Aesthetic
â2âDickensâs Democratic Aesthetic
â3âOur Mutual Friend: Detachment and Money
â4âA Tale of Two Cities: Reciprocity and Making History
â5âThe Mystery of Edwin Drood: Time and the Denial of Love
1âOur Mutual Friend Detachment and Money
â1âIntroduction
â2âControlling Spectatorship
â3âTrue Detachment
â4âDickensâs Democratic Aesthetic
â5âThe Reciprocity of Wonder
â6âThreefold Wonder and Time: Bella Wilfer
â7âThreefold Wonder and Time: Eugene Wrayburn
â8âChoice: The Reader and the Book
2âA Tale of Two Cities Reciprocity and Making History
â1âIntroduction
â2âSilence and Spectatorship
â3âDuplication and Doubling
â4âMystery of Character
â5âRevolution and the Reader
â6âTemporal Moral Creativity
â7âMelodramatic Fairy Tale
â8âMystery and Doctor Manette
3âThe Mystery of Edwin Drood Time and the Denial of Love
â1âIntroduction