Collins suffered from a form of arthritis known as "rheumatic gout" and became severely addicted to the opium that he took in the form of laudanum to relieve the pain. As a result he experienced paranoid delusions, the most notable being his conviction that he was constantly accompanied by a doppelganger he dubbed 'Ghost Wilkie'. His novel The Moonstone prominently features the effects of opium and opium addiction.
While he was writing it, Collins' consumption of laudanum was such that he later claimed to have no memory of writing large parts of the novel. Collins never married, but lived, on and off from , with a widow, Mrs. Caroline Graves, and her daughter. He also fathered three children by another woman, Martha Rudd, whom he met after Mrs. Graves left him in Graves returned to Collins after two years, and he continued both relationships until his death in His grave notes him as the author of The Woman in White. His works were classified at the time as 'sensation novels', a genre seen nowadays as the precursor to detective fiction and suspense fiction.
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He also wrote penetratingly on the plight of women and on the social and domestic issues of his time. Like many writers of his time, he published most of his novels as serials in magazines such as Dickens's All the Year Round , and was known as a master of the form, creating just the right degree of suspense to keep his audience reading from week to week.
He enjoyed ten years of great success following publication of The Woman in White in His next novel, No Name combined social commentary—the absurdity of the law as it applied to children of unmarried parents—with a densely-plotted revenge thriller. The novel was both a financial coup for its author and yet, nevertheless, a comparative commercial failure: the sum paid by the Cornhill magazine for the serialization rights was exceptional, eclipsing the prices paid for the vast majority of similar novels by a substantial margin, yet the novel itself failed to recoup its publishers' investment.
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The Moonstone , published in , and the last novel of what is generally regarded as the most successful decade of its authors' career, was, despite a somewhat cool reception from both Dickens and the critics, a significant return to form that re-established the market value of an author whose success in the competitive Victorian literary marketplace had been gradually waning since his initial successes.
Viewed by many to represent the advent of the true Detective Story within the tradition of the English Novel, it remains one of Collins' most critically acclaimed productions. However, various factors including the loss of Dickens' as a literary mentor after his death in ; Collins' increased dependence upon laudanum; and a somewhat ill-advised penchant for utilizing his fiction to rail against social issues appear to have led to a decline. In the two decades following the success of his sensation novels of the s and prior to his death in , Collins' novels and novellas of the '70s and '80s, while by no means entirely devoid of merit or literary interest, are generally regarded as inferior to his previous productions and receive comparatively little critical attention today.
The Woman in White and The Moonstone share an unusual narrative structure, somewhat resembling an epistolary novel, in which different portions of the book have different narrators, each with a distinctive narrative voice. After The Moonstone , Collins's novels contained fewer thriller elements and more social commentary.
Marian is, too, a foil for her half sister, Laura Fairlie, the victim of the main crimes in the book. While one might easily dismiss Laura Fairlie with her name—she is fair and petite and very vulnerable—she also displays a quiet resilience and determination in the face of overwhelming adversaries. In one of his best speeches, Fosco reveals the nature of his hubris, his evil genius:. Crimes cause their own detection, do they?
The hiding of a crime, or the detection of a crime, what is it? A trial of skill between the police on one side, and the individual on the other. When the criminal is a brutal, ignorant fool, the police in nine cases out of ten win. When the criminal is a resolute, educated, highly-intelligent man, the police in nine cases out of ten lose. In pitting decent people against others who manipulate the law and social conventions to impose their wills, Collins frequently creates characters more interesting for their deficiencies than for their virtues.
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His novels pit, sensationally at times, the unsuspecting, the infirm, or the unprepossessing, against darker figures, usually operating under the scope of social acceptance. Beneath the veneer of his fiction, one finds in Collins a continuing struggle to legitimize the illegitimate, to neutralize hypocrisy, and to subvert the public certainties of his era. Plays: No Thoroughfare, pr.
http://www.yalitimsan.com/components/1507-guezellik-salonu.php Bibliography Gasson, Andrew. Wilkie Collins: An Illustrated Guide. New York: Oxford University Press, Nayder, Lillian. Wilkie Collins. New York: Twayne, Wilkie Collins: Women, Property, and Propriety. New York: Macmillan, Page, Norman.
Peters, Catherine. Princeton, N. Pykett, Lyn, ed.
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