Walter Hartright is a drawing teacher whose friend suggests a position for him out in Cumberland, teaching two young ladies. On the road home one night, he suddenly encounters a young woman who is dressed all in white. She asks him the way to London, and he points it out to her. After she leaves, he discovers that she was escaping from an insane asylum. Soon afterward, he meets his pupils, Miss Halcombe and Miss Fairlie. But the mystery surrounding the "woman in white" are numerous. Who was she? Is she really insane? Why was she so afraid that Walter might know a certain man of property?

This story is complicated and impossible to summarize fully without giving away numerous spoilers. As the footnotes doing so were one of the disappointments for me reading, I've tried to avoid doing so here. The format of the book is interesting: several people's accounts tell the events in a semi-chronological order. I enjoyed it at times, but was often frustrated with how very long the narrator (particularly when it was Hartright) took to tell me something very simple. Identity is a major theme in the novel: Who is the woman in white? Who is Sir Percival or Count Fosco? And once someone's identity is stolen, how can it be restored? I liked Marian Halcombe, but Hartright struck me as very like young David Copperfield and less aware of his own melodramatic tendencies. Laura Fairlie was very childlike and never seemed very real to me. The Moonstone was more to my taste. ( )

I'd heard good things about this book for years and now I've read it I know exactly why it's never been out of print; it's a superb, ground-breaking work. Like any novel written 150 years ago, it takes some getting used to; the writing style, the characterizations, the plot points themselves, but once you acclimate, this novel is truly a thriller worth reading. And it is a taut work despite its length. There is always something going on and the little hints and contradictions between accounts from each narrator keep you engaged.

I admit that it was hard sometimes to keep my 21st century sensibilities to myself. Honestly, I couldn't see what was so attractive about Laura that kept Marian and Walter her devoted slaves. I guess being a limpid, fainting female so compliant as to have no personality of her own was the epitome of female attractions back then. Maybe both Walter and Marian just needed someone to mother, protect and control to feel like they had any value in life. The lengths they went to keep Laura completely sheltered from any whiff of reality was absurd to me and a few times I wanted to smack all three of them. But only a few times. Overall, Collins did a good job of reaching through the decades and making me feel sympathy for Laura and her plight. Then again, she was so insensible to most of it that there wasn't a lot to feel sorry for. I mean, doesn't a person have to feel the pain of her situation before anyone else can feel bad about it? Of all the players involved, we never hear from her directly so can't get a good grip on what this whole experience did to her. She was so thoroughly insulated that it probably wasn't much, like a bird that has its cage changed from one to another doesn't comprehend what's been done. I felt slightly insulted by this treatment on Laura's behalf. Hell, at least she didn't whine, I guess that's something.

As far as characters went, this novel is loaded with outstanding examples. First of all the villains; Count Fosco and Sir Glyde were deliciously wicked and underhanded. Fosco is the orchestrator of all their shenanigans and must leash his friend's more overt and violent impulses. I never did understand what bound the two together in the first place, maybe just a mutual interest in decadent living and swindling folks to acquire it. Glyde's initial scam in claiming an inheritance that didn't belong to him might have been planned by Fosco himself since he seems to have gained his titles the same way, but we don't really know. Glyde is vicious, but not in the same way Fosco is vicious. Fosco maintains an air of moral superiority that is downright nauseating. And his slave wife is the same way. I wished a worse end on both of them than they received, but perhaps Collins felt he needed to pull his punch to keep his readers from having an attack of the vapors. Glyde's end, though horrifying in the extreme, lacks personalization and therefore is somewhat unsatisfying as well.

Another character I quite loved was Uncle Fairlie. What a righteous old queen he was. His fussing, flightiness and willful obstinacy was a wonder to behold. Yeah, he was annoying, but provided a much needed uplift to the grinding dread and tension of the novel. It was also great to see how easily manipulated he was by everyone who came in contact with him. I did feel sorry for his valet, though. Leaving the estate to the kid in the end was a bit of a stretch given the fact that he was so uncaring about inheritance in the past. I mean, he knew that Laura's marriage settlement was a screwed up thing, but didn't care, so why should he care about some brat he'd never seen? I can't picture him bothering. It is out of character.

And Marian is a mystery to me as well. Sure, Walter is smitten by a pretty, empty-headed girl as men have been for all of time and can't help slaving away over Laura, but what of Marian? Despite her outward appearance of self-assurance, she must really feel she has no chance of marriage. Or maybe the state doesn't appeal to her independent demeanor. I never got a handle on why she's content to be unofficial nanny and governess for the rest of her life. Surely if Count Fosco could find her fascinating other men could as well. Marian is a mystery to me that endures even more than Anne Catherick herself.

Anne is another helpless female who engenders unchecked devotion and sacrifice by a relative stranger; a popular motif in 19th century literature. Basically cast out by her mother, Anne is repeatedly told that she's weak-minded and stupid and thus becomes those things. She's manipulated and controlled by everyone around her. When she accidentally appears to have purpose, the asylum is the best way to get rid of her inconvenient presence. Mom and Glyde can sigh with relief. I had more sympathy for Anne than for Laura because Anne seems to have known how ill-treated and manipulated she was and at least tried to get out from under. I'm glad they let her stay in her burial plot next to the only person she felt had any love for her.

The plot is stunning, revealed tactically and really pulled me along through the story. A conspiracy so foul and amoral that it was staggering even in this day of heinous crime TV. To deliberately go through life making one's way by cheating, lying and stealing is pretty startling when presented so baldly. And it seems that neither Glyde nor Fosco had any real obstacles along their nefarious way. The way the scheme is revealed, first by its fact then by its repercussions is a neat device. Having each player tell his or her own piece was effective as well since not all of them knew everything everyone else knew. I liked, for example, the heated indignation of the family lawyer (I forget his name) in the face of Laura's unjust marriage settlement; he only knew the events surrounding this, but it was fascinating all the same and made the heroes seem less friendless. I also liked the housekeeper's testimony; her warped view of Fosco was wonderful and showed exactly what a crafty actor he was and how much the veneer of titles and position affected the opinions of the lower classes. Everyone seemed to be more trusting than they are now and so it's no wonder that people were taken in and conspiracies like these actually worked…at least in fiction. ( )

I thoroughly enjoyed this classic. Good characters, gothic feel, good mystery, and some comic relief as well. What's not to like. ( )

A man is walking home one night. He feels a tap on his shoulder. It's a woman dressed in white. She asks for help in getting far away. Once he has her safely in a carriage and she is off, he finds out this woman has escaped from an Asylum.

Got your attention?

This book was darn good. The Woman in White set the format of what a great mystery thriller should be and it's no wonder. It was perfect.

This lengthy novel was told from the point of view - in the form of written testimonies - from different people who were both knowing and unknowingly involved in the 'secret'. Instead of this hindering the flow of the story, it enhanced it. Each narrative picked up where the last one left off and also filling in the holes the last narrative left.

There were a few times in reading where I thought the story was slacking, but what I failed to realize at the time was Collins was masterfully setting up for the next shocking event. When I hit these, I couldn't turn the pages fast enough. Heck, I felt like I was right there viewing it in person.

The Woman in White also showed the limits that women had in the 19th century, especially once they were married. It's almost sickening at some points.

Marian Holcombe was a fascinating character, one of the best in literature. One thing I didn't understand is why her narrative was told through journal entries while everyone else's was told through written testimony, even by those who couldn't even write! Marian was probably the most clever person in this cast of characters, so I just don't get it.

I was never scared at any point, but I have read that some people have been. The Woman in White I did fine very thrilling. Lots of shady people. Who was a spy? Was someone unknowingly being followed? Secret identities. Cleverly woven secrets. Brilliant!

If you love Victorian literature or mystery thrillers and have not read The Woman in White, for shame! I highly recommend it. ( )

Another big hurray for the librivox.org volunteers. I just finished listening to all 25 and half hours of the audio version of Wilkie Collins' The Woman in White, all recorded by volunteers. As I browsed the forum of the volunteers where they coordinated their work I learned that there were five female and five male voices/characters and it took them over two years to finish the production. It was worth it, they gave a professional level performance of a great classic. Thank you all.

As this is one of the most studied novels in the history of modern fiction I don't think I can add much to the established discourse. As an introduction let me just copy from the wikipedia entry:
The Woman in White is an epistolary novel written by Wilkie Collins in 1859, serialized in 1859–1860, and first published in book form in 1860. It is considered to be among the first mystery novels and is widely regarded as one of the first (and finest) in the genre of 'sensation novels'. The story can be considered an early example of detective fiction with the hero, ….A poor art master, Walter Hartright, is employed to teach two young women in Cumberland, and falls in love with one of them, Laura. His feelings are returned, but she is already engaged to another. They are parted and she marries, but she and Marian, her resourceful half-sister, are then caught up in her new husband's plot to steal her fortune and identity. Laura is stripped of her name and money, and almost of her sanity, but is rescued by Marian and protected by the faithful Hartright. He and Marian battle to expose the fraud and reclaim Laura's identity, fortune and position in society. Throughout the story they encounter a mysterious woman in white, whose own sad story seems entangled with those of Laura and her husband, and who plays a crucial role in the novel's main events.
What I enjoyed the most was the contrast of the different perspectives The librivox version really brought their different sensibilities and personalities out. Hearing the voices made it easier to put yourself in any of the characters' place. Sometimes it was comfortable, other times you had to recoil. But it was always interesting. I also enjoyed the slow flow of the narrative. The detailed descriptions of places, people and actions made me feel being there. I hope lots of people will rediscover this gem.