Old Bestseller Review: The Woman in White, by Wilkie Collins

Old Bestseller Review: The Woman in White, by Wilkie Collins

a review by Rich Horton

This is perhaps Wilkie Collins' best known novel (the other candidate being The Moonstone.) It was serialized in 1859-1860 in Charles Dickens' magazine All the Year Round; and then in three volumes by Sampson Low in August 1860. It was also published nearly simultaneously in the US -- serialized in Harper's Weekly, then in book form by Harper and Brothers about two weeks after the English first. It is considered  the first "sensation novel".

William Wilkie Collins (1824-1889) was the son of a painter, William Collins. He spent some time as an adolescent in France and Italy and became fluent in both French and Italian. His father wished him to become a clergyman but Wilkie would have none of it. He did study law, and indeed passed the bar but never practiced. He worked for several years as a clerk for a tea merchant. His first story appeared in 1843 and his first novel, Antonina, in 1850. (In the interim, he published a biography of his father.) Charles Dickens took an interest in his work, and many of Collins' stories and novels appeared in Dickens' two magazines, the aforementioned All the Year Round and also Household Words. Collins and Dickens also collaborated on some stories and a play. (Dickens' contributions to literature as an editor and mentor to other writers are pretty significant -- see Elizabeth Gaskell as well.) Collins became well off after The Woman in White's success. He ended up publishing a couple of dozen novels, a number of short stories, and several plays (including a well-regarded adaptation of The Woman in White.) He suffered severely from gout, and took laudanum for the pain, becoming an opium addict.

His personal life was a bit controversial. He never married (he disapproved of the institution), but enjoyed long-term liaisons with two women (often simultaneously): Caroline Graves, and Martha Rudd. He had three children with Rudd, and also raised Graves' daughter as his own. I might add that some details of his autobiography make their way into The Woman in White to some degree -- the main male character is an artist, like Collins' father; legal machinations are critical to the novel, using his knowledge of the law (though he made one enormous mistake); and I would argue that his main character's relationship with the two main women characters strikes me as essentially bigamous, though it is not really presented quite that way.

The novel is told primarily by Walter Hartright, a young drawing teacher, in about 1850. Hartright presents it a faithful record of the events concerning the mysterious "woman in white" and Laura Fairlie, a young woman whom he tutors in drawing, and who has a striking resemblance to the woman in white. Hartright makes it clear he is writing all this after the novel's resolution, and he add that he will include the testimony of other characters in the narrative when necessary. Thus, much of the novel is presented as diary entries of Laura Fairlie's half-sister Marian Halcombe, and there are other shorter entries -- depositions from witnesses to some events, a confession of sorts by the chief villain, etc. It's a nice device, and Collins uses it effectively.

The novel is divided into three parts, or "epochs". In the first we see Walter Hartright accept the commission from Frederick Fairlie, the incredibly lazy and selfish uncle of Laura Fairlie, to teach his two wards drawing. (Laura's parents are both dead, as are Marian Halcombe's (she was the daughter of Laura's mother and her first husband.)) Walter also meets the mysterious "woman in white", whom he learns is an escapee from an asylum. Walter and Laura soon fall in love, and Marian advises Walter that he must resign his position and leave, for Laura is already engaged. The engagement is briefly endangered by an anonymous letter denouncing Laura's fiancé, Sir Percival Glyde -- which Walter learns was sent by the woman in white, who also closely resembles Laura, and who knew Laura's mother. After Walter leaves, Marian takes over the narrative, and we learn of the unfair marriage contract Sir Percival forces on Laura -- which will give him her fortune if she predeceases him.

The next epoch shows Laura and Sir Percival's trouble marriage -- it is clear that all Sir Percival wants from Laura is her money. Marian attempts to protect Laura, but there is a new character, the flamboyant and corpulent Italian Count Fosco, who also has financial reasons for harming Laura ... for his wife is Laura's aunt, who would receive a portion of her inheritance were she to die. After a lot of maneuvering, and an inconvenient illness for Marian, the Count is able to set some schemes in motion, with the object of removing the obstruction Laura offers, and also to deal with Anne Catherick, who may know an inconvenient Secret about Sir Percival Glyde.

The third epoch follows the efforts of Walter Hartright, after his return from Central America, where he fled to nurse his sorrows after having to leave Laura, to unravel the dastardly schemes of Count Fosco, to learn what really happened to both Laura Fairlie and Anne Catherick, and to find out Sir Percival's Secret. I won't say more -- this is a very plotty novel, very satisfyingly so, and I don't wish to spoil it.

In the end it's an extremely fun read. There are two great characters -- the villainous but impressive Count Fosco, and the redoubtable Marian Halcombe. It must be said that Laura Fairlie and Walter Hartright are both a bit dull. Though Laura is described as far more beautiful than Marian, and also as the more accomplished at drawing and music, it is Marian who is intelligent and brave and unconventional, and it's not a surprise that Collins received letters from men who wanted to know who was her original, so they could find her and marry her. I don't rank this novel with such novels as Middlemarch, David Copperfield, and North and South ... it really is a bit too melodramatic. As I said, it is considered the first "sensation novel" -- novels that showed lurid happenings in apparently normal English families. (Mary Elizabeth Braddon's Lady Audley's Secret, from just two years after The Woman in White, is another sensation novel.) I don't think Collins' prose is quite on the level of Eliot or Dickens, though it's fine. His characters are not as acutely drawn. But his plot is intricate and fascinating. There are some delicious comic moments, mostly involving either Count Fosco or Frederick Fairlie. Most assuredly a novel worth reading, worth its fairly steady reputation. And I will be reading at least The Moonstone, Collins' second most famous novel, in the coming several months.