This ambitious three-volume biography on Gissing examines both his life and writing both chronologically and in close detail. Part II assesses the period of Gissing’s greatest authorial triumphs. His most critically acclaimed works, The Nether World (1889), New Grub Street (1891) and The Odd Women (1893) date from this time.

This ambitious three-volume biography on Gissing examines both his life and writing chronologically and in close detail. Part I covers Gissing’s early life up until his establishment as a writer of moderate critical success.

This ambitious three-volume biography on Gissing examines both his life and writing both chronologically and in close detail. This final volume in Coustillas’s prodigious biography examines the turbulent last years of the author’s life and his literary afterlife.

The Materiality of Literary Narratives in Urban History explores a variety of geographical and cultural contexts to examine what literary texts, grasped as material objects and reflections on urban materialities, have to offer for urban history. The contributing writers’ approach to literary narratives and materialities in urban history is summarised within the conceptualisation ‘materiality in/of literature’: the way in which literary narratives at once refer to the material world and actively partake in the material construction of the world. This book takes a geographically multipolar and multidisciplinary approach to discuss cities in the UK, the US, India, South Africa, Finland, and France whilst examining a wide range of textual genres from the novel to cartoons, advertising copy, architecture and urban planning, and archaeological writing. In the process, attention is drawn to narrative complexities embedded within literary fiction and to the dialogue between narratives and historical change. The Materiality of Literary Narratives in Urban History has three areas of focus: literary fiction as form of urban materiality, literary narratives as social investigations of the material city, and the narrating of silenced material lives as witnessed in various narrative sources.

My Victorians is a hybrid in both form and content, part memoir/extended lyric essay but also a work of biography, photography, and cultural, literary, and art history. This is a travelogue of writer Robert Clark’s attempt to work through a sudden and inexplicable five-year-long obsession focused on Victorian novelists, artists, architecture, and critics. He wends his way through England and Scotland, meticulously tracking down the haunts of Charles Dickens, George Gissing, John Millais, the Bloomsbury Group, and others, and documenting everything in ghostly photographs as he goes. As Clark delves deeper into the Victorian world, he wonders: What can its artists offer a twenty-first century writer by way of insight into his own life and work? His obsession with Victoriana bleeds into all aspects of his life, even the seemingly incongruous world of online dating. My Victorians is in the spirit of Geoff Dyer’s Out of Sheer Rage and Rebecca Mead’s My Life in Middlemarch. This book considers what happens when heartbreak, eros, faith, and doubt drive us to take refuge in the past.

This collection explores Gissing’s place in the narrative of fin-de-siècle literature. Together, chapters here theorise how late-Victorian spatial and generic norms are confronted, explored and performed in Gissing’s works. In addition to presenting new readings of the major novels and introducing readers to lesser-known works, the collection advocates Gissing’s importance as a journalist, short story, and travel writer. It also recognises Gissing as a central proponent in the late-Victorian realism debate. The book, like today’s nineteenth-century studies, is interdisciplinary. It includes familiar interpretive approaches—biographical, historicist, and comparative—together with fresh perspectives informed by ecocriticism, materiality, and cultural performance. In addition, it is markedly comparative in scope. Gissing is read alongside familiar authors like Dickens, Ruskin, and Hardy, but also, and more unusually, Nietzsche, Besant, Freud and Foucault. Collectively, these chapters illustrate that Gissing, though attentive to contemporary issues, is neither uncomplicatedly realist nor are his writings uncomplicated historical records of place.