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11 Cutting through the preoccupations of the previous century, Stevenson brought the novel into the clarity of a new era. 10 Walter Besant, ‘The Art of Fiction’ (lecture given at the Royal Institution in 1884); Henry James, ‘The Art of Fiction’, Longman’s Magazine (September 1884); Robert Louis Stevenson, ‘A Humble Remonstrance’ (1884). , The Nineteenth-century Novel: A Critical Reader (2001), pp. 61–100. Hereafter Regan. 11 Stevenson, ‘A Gossip on Romance’, Memories and Portraits (1908), p. 151.
Today, Charles Edward Mudie’s Select Circulating Library is remembered as the institution that curiously kept the expensive three-volume novel going as a *publishing format throughout much of the century (see below, pp. 205–6). But in 1855 Mudie was assuring his clients that ‘preference is given to works of History, Biography, Religion, Philosophy, and Travel’, although noting that ‘the best works of fiction are also freely added’. If the novel did emerge as a separate category of literature, it was the genre least capable of clear definition.
There is not a street in London, but what may be compared to a large or small volume of intelligence, abounding in anecdote, incident and peculiarities,’ wrote the journalist Pierce Egan, Sr in *Life in London (1820–1, p. 24). Dickens, who as newspaper reporter wrote the pieces collected as Sketches by ‘Boz’ (1836), moved seamlessly from observation of London streets into their dramas and human narrative for Oliver Twist, the first major Victorian novel. But by 1870, when Trollope declared that the novel was a ‘rational amusement’,30 reading with a moral purpose, he was already arguing against the tide.
