The first chapter focuses on novels such as Charlotte Lennox’s The Female Quixote, Eliza Haywood’s Betsy Thoughtless, and Frances Burney’s Camilla, in which a heroine repeatedly ends up dangerously alone with a man. This episode both resembles and threatens to derail the marriage plot. These episodes of getting lost re-tell the marriage plot not as a story of falling in love, but as a series of misadventures in which the heroine gets condemned as a “lost” or “fallen” woman. Earlier in the eighteenth-century novel, the heroine is likened to a prostitute as a result of her sexual desire. Toward the end of the century, the heroine’s resemblance to a “lost” woman no longer results from her stigmatized desire, but from her precarious social status as a woman being considered for marriage, which she is prohibited from fully acknowledging. Earlier subgenre novels anticipate readers who are prohibited from acknowledging and fulfilling their desires. The historically later episodes anticipate readers who are drawn to the subgenre as a means of alleviating their lack of autonomy.

This chapter explains how the emotionally expressive motions of characters can reveal their unmet psychological needs, which cultural and economic conditions do not allow them to fully acknowledge. These movements and the environments in which they unfold evoke subgenres of the eighteenth- and nineteenth-century British novel including the marriage plot, the Gothic novel, the Victorian bildungsroman, and the sensation novel. These episodes featuring characters’ emotionally expressive motions invite us to understand these subgenres in a new light, as narratives that depict characters’ unfulfilled needs and respond to those of anticipated readers. The introduction situates this approach both with respect to recent work in novel studies and the earlier approaches of reader response theorists. The chapter also offers an extended interpretation of Samuel Richardson’s Clarissa, oriented around Clarissa’s expressive motions as she runs away from her family with Lovelace. This moment can be seen as the origin of episodes of getting lost.

Via an analysis of Anthony Trollope’s Palliser series, this chapter argues that character – the notion that a person’s value is defined by attributes of character – was the dominant value form shaping novelistic poetics under the nineteenth-century industrial economy. Trollope’s novels bear witness to the growing influence of financial transactions in the British economy. Upon first glance, Trollope’s critique of finance capital is fairly well worn, embedded as it is in anti-Semitic and xenophobic tropes, but this chapter focuses on how the financial narratives in Can You Forgive Her? (1864) and The Prime Minister (1876) cast finance capital as an affront to the very logic of character as a novelistic value form. In those novels, we begin to see the unraveling of character, which opens up the possibility for another literary value form to emerge under modernism.

Thomas Hardy’s Tess of the D’Urbervilles is motivated by questions surrounding the legibility of character, and it begins to associate those questions with the increasing economic and cultural influence of London. As an ostensibly provincial novel, Tess is an important test case for the claim that the financialization of the British economy was accompanied by a cultural turn toward London. This chapter argues that Tess is in fact a London novel as it depicts a provincial Wessex infused with the economic and spatial logic of London, a logic that poses problems for the reading of character in the novel, as it depicts Angel Clare mistakenly interpreting Tess’s character through a pastoral rather than urban hermeneutic.

This chapter wrestles with the contradictory power that popular romance wields in American culture. These novels both uphold heteropatriarchal norms through their fidelity to the marriage plot, but also unsettle romance tropes as a mode of resisting pernicious stereotypes about Black love and dysfunctional families and counter ubiquitous representations of Black pain. Through a close reading of work by writers such as Sister Souljah, Terry McMillan, and Beverly Jenkins, this chapter upends the claim that Black popular romance is unimaginative and does not merit serious critical analysis as well as defies the common belief that Black popular fiction is a political wasteland. As it reimagines Black popular romance as a space of political possibility with immense cultural impact, this chapter deromanticizes the book publishing industry as a site of antiracism by uncovering the numerous hurdles that Black popular romance writers must clear before they publish novels with Black love at the center.

Originally written in Malayalam, Indian writer O. Chandumenon’s novel, Indulekha (1889–90) was translated into English within a year of its publication and reprinted every year for almost a century. This chapter focuses on Indulekha’s engagement with a matrilineal household, typical of the Nair community in late nineteenth-century Malabar. In doing so, the chapter is attentive to the novel’s choice of genre. By taking up matriliny through the lens of realism, the novel not only departs from a fairly common nineteenth-century practice of depicting matriliny through romance but also remaps realism, extending its scope and valence amidst the social, sexual, and political shifts marking the fin de siècle, transimperially conceived.