Mobilities: Physical and Social

This chapter focuses on the influence of prosthesis use on social mobility, challenging predominant utopian views regarding nineteenth-century prosthetics. It exposes the social restrictions underpinning prosthesis use, while showing how several writers challenged the status quo. Centring on a case study of Charles Dickens’s portrayal of the villainous wooden-leg user Silas Wegg in Our Mutual Friend (1864–1865), the chapter identifies how Dickens drew from anxieties surrounding the social position of amputees by presenting a wooden-leg user as a transgressive social climber. The chapter places Dickens’s representation of Wegg in context with his other depictions of prosthesis users and those found in his journals Household Words and All the Year Round. This chapter argues that stories such as Dickens’s ultimately problematize the logic of prosthesis use.

Proto-Reading and the Positing of Character in Our Mutual Friend

The openings of Dickens’s novels schematically isolate the elements that will form the texts: beginning with the “two figures” of the novel’s opening, this chapter examines the positing of character in Our Mutual Friend. It traces the novel’s fascination with proto-, incomplete, or newly emerging persons: the partial assembly of skeletons, the emergence of the nouveau riche or of “made” men, the awakening to consciousness after a near-drowning, the looming of forms that might be (but that are not yet) human out of the darkness or at the borders of perception. The novel repeatedly produces scenarios where recursive structures of gazing (fond spouses attending to their spouses’ looks, a daughter watching to see what her father sees) as if produce faces that loom out of the void. It also repeatedly dramatizes forms of reading that aren’t literally reading: Silas Wegg teaching Boffin to “decline and fall”; Lizzie Hexham seeing stories in the fire; Charlie Hexham looking at the spines of books; Gaffer “reading” posters illegible to him, and so on. The novel’s concern with incipient forms and, as it were, proto-reading, indexes the way its major and minor plots and subplots are structured by an overarching concern with inception.

‘A very Moloch of a baby’

Dickens’s portrayal of babyhood comprises comical creations as well as complex symbols and infants as victims of social injustice, yet, especially his funny babies are often overlooked. The first chapter explores how Dickens satirizes the growing commodification of babyhood in Victorian Britain and, in playing with readers’ expectations, produces comical scenes that strengthen rather than undercut his social criticism. His exposure of failed middle-class projects of child rescue urges his readers to reconsider prevailing ideas of charitable intervention, while he uses comically exaggerated infant behaviour to render working-class practices of child care mundane and familiar without sentimentalizing them. His representation of working-class baby-minding, a practice that Victorian philanthropists notoriously misunderstood, exemplifies how Dickens could combine comedy and social criticism to draw attention to topical issues, upend clichés, and at the same time create individualized infant characters. His Christmas book for 1848, The Haunted Man and the Ghost’s Bargain, produces a grotesquely comical image of a baby, minded by a small boy, as ‘Moloch’, a deity demanding child sacrifice. While Baby Moloch becomes central to a reassessment of emotional attachment, the narrative complicates middle-class rescue work. The simultaneity of the comical baby and infants as symbols of suffering is then further developed in Bleak House (1853), whereas in Our Mutual Friend (1865), the failed rescue of an orphaned toddler dramatizes pressing issues involving paid child-minding and unregulated adoption. The analysis of Dickens’s fictional infants simultaneously reveals the different narrative roles of the comical baby in Victorian literature.