The Woman in White by, Wilkie Collins
This is a classic author I have just discovered and after reading this one I will be reading/devouring everything he has written. This was gothic fiction at its best and the story kept you on the edge of your seat all the way through. Every time I thought I had this story figured out the author would throw in another clue/red herring and throw my theory right out the window.
Marion was a great character who seemed ahead of her time she was so strong in a time when women don’t seem to have that kind of strength. I don’t know how Laura would have managed on her own she was a quite weak. Anne seemed actually stronger than Laura even with all she had been through.
Count Fosco was a very interesting character too one of the best written villains ( If that is what he was),he has become one of my favorite villains in literature. He was charming in that slimy kind of way and I do believe showed real affection towards Marion.
I liked the multiple character viewpoints I found it a great way to give the reader the entire story as the different characters saw it unfold. This book is a classic but not your run of the mill classic it is far from boring and is a great mystery. I couldn’t get enough of this book I never wanted to let it go when I had to get something done and for a chunkster that’s saying something. If you are looking for a classic to revitalize your love of classics or to introduce someone to the classics this is the book to choose. I am off to find anything else this man has written!
5 Stars ( )

I'm not a huge mystery reader, but when I do sit down to a who-dunnit, I like my time period to be Victorian, my heroes to be relentless, and my villains to be seemingly unstoppable (care for a Lady Julia Grey mystery anyone?). When hearing that Wilkie Collins' most popular novel The Woman in White basically pioneered this genre, I knew it was one to go to the top of my TBR list and after reading it, I can only kick myself for not coming across it's brilliance previously."This is the story of what a Woman's patience can endure, and of what a Man's resolution can achieve."Thus begins the narrative of Walter Hartright.As Walter is walking home late one evening he comes across a mysterious woman, dressed head to foot in white garments, in desperate need of aid. Walter helps her willingly (ever the gentleman) even though he is plagued by strange impressions of the woman as he continues on his way as he is expected to leave the next day to for his new job as drawing master for two young ladies in the country, Miss Laura Fairlie and her half-sister Miss Marian Halcombe. Even though Laura and Marian are as close as two sisters could possibly be, they are distinctly different: Marian is dark and unattractive and very, very smart while Laura is blond, delicate and extremely beautiful. So guess which sister Walter falls in love with? Of course, he is smitten from the first with Laura but behaves like a gentleman at all times (naturally). Once Marian learns that Laura returns his affection, she feels bound to reveal that Laura has already been promised to another man, Sir Percival Gylde, upon which, Walter leaves heartbroken for an extended journey in Central America.Enter Sir Percival: he's the man Laura's dead father wished her to marry and has been nothing but proper but is now hoping to finally set a date to their marriage. Even though Laura is still heartbroken over Walter's departure, she agrees and the couple is soon married and leaves on their honeymoon to Italy before Marian knows what to think. But when the couple returns, Marian finds Sir Percival to be very different from the man he previously appeared to be - brutish and almost cruel to Laura. Sir Percival has also returned with his good friend Count Fosco and his devoted wife, who happens to be Laura's estranged aunt. It quickly becomes obvious that Sir Percival is experiencing extreme financial difficulties and that the oddly charming yet disturbing Count Fosco has some sort of manipulative sway over the man. Together, they have planned one of the most audacious, most brilliant crimes involving Laura, Marian and even the illusive woman in white encountered by Walter so many months before. Laura and Marian quickly discover that Sir Percival and Fosco will stop at nothing to get what they want and that they have no one to trust but each other and the resourceful Walter Hartright - who is determined to see justice done.Published in 1860, The Woman in White is said to be one of the first mystery novels ever written in the Gothic style - it's success primarily due to having a likable amateur detective as hero, Walter Hartright, matched with a highly unorthodox villain, Count Fosco. Lies, surprising secrets revealed, amnesia, intrigue, and manipulation all combine to make this an engrossing read. Written in a modified epistolary form from the perspective of multiple characters, I wasn't sure I would enjoy a novel written by several different narrators but each separate account combined to create a chilling story where the puzzle pieces slowly fall into perfect place. Each voice was distinct and unique - from Marian's forthright and intelligent account to Mr. Fairlie's openly condescending (yet often hilarious) impressions as the family invalid.I've alluded to this already, but the best part about this novel has to be the characters - and I'm not just talking about Walter and Laura (boo! no one likes a pretty doormat!). On no, there is a full and distinct complement of secondary characters who give background, realism and strength to the story. Let's go over a few of my favorites, shall we?1. Two words: COUNT FOSCO. Count Fosco is everything you could ever want in a villain - the man is creepy, totally smart, can be utterly charming when he needs to be. Perhaps the greatest point in his favor is that he saw past Marian's ugliness and fell in love with her for her MIND unlike everyone else who trailed after the spineless Laura. Add in that the man has confidence in spades, and you've got yourself a winner.2. Marian Halcombe is the ugly, poor half-sister to the lovely Laura but without her, Laura would have never achieved any sort of future or happiness. With limited resources she gets the job done, understands the meaning of subtly and has the memory of an elephant.3. Lastly, in the time-honored tradition of Victorian literature Wilkie Collins presents us with a masterpiece of an invalid in Mr. Frederick Fairlie. Acting as Laura's guardian, he's selfish, despotic and has some of the best lines in the entire novel - usually when he wants people to leave him alone and so begins to wax poetic about some random subject or other. For example, here he is trying to understand why a woman would cry when she is upset:"I distinctly object to tears. Tears are scientifically described as a Secretion. I can understand that a secretion may be healthy or unhealthy, but I cannot see the interest of a secretion from a sentimental point of view."The Woman in White may be full of Victorian language and legal descriptions but it quietly builds into a world class thriller, which left me clutching the book, dying to find out what would happen next. Each storyline is carefully planned out with each individual thread crossing and connecting in multiple directions - it's obvious Wilkie Collins was a master craftsman in his genre.Such storytelling, with some unforgettable characters, I was totally hooked. ( )

I first read The Woman in White in 2006 – it was the first Wilkie Collins book I ever read and the one that turned me into a huge fan of his work. I just wish I had discovered him sooner!

So what is it about? I won't go into the plot in too much detail, as I don't want to spoil the fun for those of you who haven't read it yet. The story begins with drawing master Walter Hartright's meeting on a lonely London road with a mysterious woman dressed all in white who has escaped from an Asylum. The next day Walter takes up a teaching position at Limmeridge House in Cumberland where he finds that one of his students, Laura Fairlie, bears a striking resemblance to the woman in white…

The novel follows an epistolary style, meaning it is narrated by several different characters in turn. I love the way Collins gives each of his narrators a unique 'voice' - he really makes the characters come alive. Another thing I love about Wilkie Collins' writing is his sense of humour…some of the scenes involving Laura's hypochondriac uncle Mr Fairlie are hilarious!

Marian Halcombe, Laura Fairlie's sister, is one of my favourite female characters in literature. Contrary to the usual portrayal of 19th century women, she is a brave, intelligent, courageous person who on several occasions puts herself in danger in order to protect her sister Laura. Another great character is Count Fosco. One of the most unusual and memorable villains I've ever encountered in any book, he's an old, fat, opera-loving Italian completely devoted to his pet canaries and white mice.

The Woman in White is an example of the genre known as sensation fiction - including elements such as forgery, identity theft and insanity. Although it was written in the 19th century it's as exciting and gripping as a modern day thriller - even when reading the book for the second time and knowing what was going to happen! It's a long book but there's enough tension and suspense to keep the reader interested right through to the end. There are some classics that are a struggle to read but you persevere with them simply because they're classics and you feel as if you should. The Woman in White does not fall into that category - yes, it's a classic but it's also one of the most readable and enjoyable books I've ever read. ( )

Pressed upon me by my sister, recommended to me by my father, and doubly praised by my mother, The Woman in White, a classic of 19th century fiction, was deemed by T.S. Eliot to be "the first, the longest, and the best of modern English detective novels." It's a fairly fat book (648 pages, small type). At first it took some work to get into the slower-paced rhythms of this book. But I stuck with it. And even though the happenings seemed to be few and far between, this book consistently held my interest. Somewhere around the halfway point I found myself looking forward to picking up the book for further reading. Then, about two-thirds of the way in, events kicked into high gear and the suspense was sustained through to the finish. The plot behind The Woman in White concerns the fates of two sisters, a true love, a despicable husband, a conniving, corpulent Count and various other personages. Much of the fun in reading this book is trying to guess at the connections and motives of the various characters and wondering where certain events are leading. Mysteries encountered earlier in the story are explained later and the result is a satisfying, if somewhat long-winded read. Published in 1860, The Woman in White was a sensation in its day and the author was as well known as his friend Charles Dickens. Collins himself was an interesting character who "braved Victorian morals by living with one mistress and maintaining another in a separate establishment." He died in 1889. I was in the mood for a classic work and The Woman in White was an agreeable choice. The events in this story bring to mind the kind of evil, gloomy atmosphere that is reminiscent of the writings and drawings of Edward Gorey and his fanciful depictions of Victorian characters committing dastardly deeds by dark of night. ( )

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.

“This is a story of what a woman’s patience can endure, and what a man’s resolution can achieve”

So begins Wilkie Collins’ The Woman in White, a Victorian piece of classical literature with a Gothic feel.

The novel begins with Walter Hartright’s strange nocturnal encounter with a mysterious woman, dressed head to toe in white. The woman refuses to tell him why she is out at such an hour, and with no one to escort her–merely asking Hartright to direct her to London, which, as a gentleman, he does gracefully. Hartright fetches her a coach and sees her off, then continues on his way home. A few moments later, he is stopped by a policeman, asking if he had seen a woman dressed completely in white garments. When Hartright inquires as to why, the man responds that the woman had recently escaped from a nearby asylum.

This is the first of several events that take Hartright down a long, dangerous road, full of deception and treachery, threatening all that he holds dear. As drawing master to the beautiful Laura Fairlie, Hartright becomes even more entangled in the plots of her fiancee, Sir Percival Glyde, and his foreign friend, Count Fosco. This novel is a classic case of “things aren’t always what they seem,” as it becomes difficult to tell who is friend and who is foe.

The novel is told in epistolary form, that is, through the letters and narratives of several characters. This not only provides a change of view, making the book more interesting, but also helps to fill in all the little details that having only one narrator could not achieve.

While this book, like many classics, took me longer to finish then many of my other selections (being mainly young adult fiction), it was definitely worth the time. The Woman in White is definitely one of the best classics I’ve read so far, and I’ve read quite a few of them. It is full of suspense, plot twists, and excellent characterization. I was also extremely impressed to see such a strong female character such as Marian Halcombe present in a novel that was published in the 1800s.

For all of you literary buffs out there, I would definitely recommend that you read this book when you get a chance. It provides a very satisfying read for those of you who are willing to give classical literature a try. ( )

My new favorite Victorian Gothic novel, next to Villette. The first few hundred pages knocked me out, and the writing holds up, it's a page turner all the way through, but - hm, without spoilering too much, there is room for another plot/identity twist at the end and I wonder if the author intended to deliver one and backed off in the face of fans' investment in their preferred ending (the novel was serialized and enjoyed Buffy-like popularity during its publication). Also, I worry that Marian was shortchanged in the latter half. Apparently contemporary readers also clamored for even more Marian and sent marriage proposals to the character. I've also seen Count Fosco named on lists of fictional characters people would like to have dinner with.

Perfection! 'Magnificient Marian' is probably my favourite character in fiction, and this book in my top five. ( )

It is not necessarily easy these days to read a 500+ thriller which leaves no stones unturned. Collins, however, manages to transcend time and keeps the suspense alive through the entire tale. The characters are colourful and unique, the plot (albeit rather convoluted) creative and well crafted, the decor mysterious. Collins uses techniques, including various voices to tell the tale, that are cutting-edge and still used today.
A marvelous novel that still keeps readers at the edge of their seats. ( )

O.K., I give up. I surrender. I cannot even bring myself to pick up The Woman in White again. I started this book in March and I have been at page 262 - exactly half way through this book - for about five weeks and I cannot - repeat cannot - go forward. I'm sorry. I have failed. I dislike every character in this book. I do not care about the mysterious insane (or maybe not insane) woman and I want to club Frederick Fairlie with anything substantial that might come to hand. Wilkie Collins is not my cup of tea. ( )

In music, all I want is melody; in literature, all I want is plot. The Woman in White delivers plot by the carriage load. It's a terrific read with suspense on every page. I admire that Collins was respectful of a reader's incapacity to remember every detail, character and occurrence. He repeats things you need to know when you need to know them.

I agree with all that has been written about Laura's insipidity. Walter should have been pursuing a woman like Marion. Poor Marion. She gets described as "ugly." and ends up with no one (except Laura) for all her troubles. Collins should have found a kinder word to describe her face. The uncle, Mr. Fairlie, is annoying but richly drawn. One character says of him: Getting married and fathering a child is the last thing that is likely to happen to him. So, he's gay, but in 19th century England, Collns couldn't say that.

Too bad the plot is just too complicated to fit into a standard movie without truncation and simplification.. The BBC film version I watched after reading the novel used some of the main events but rewrote the whole story. All the fun was lost.

The Woman in White is another great reading experience that was not covered in high school literature in the 1960s. I guess it was not considered high brow enough. ( )

The Woman in White first appeared in Dickens' serial “All the Year Round” in 1859 and was published as a book the following year. It is good example of the sensational genre popular in the 1860's. Suspense is created by repeated reference to ominous things yet to occur, and an atmosphere of mystery and doom is created. Fate and chance play important roles in The Woman in White such as Walter Hartright's repeated encounters with Anne Catherick. The outcome of the book is perfectly happy. All wrongs are righted. The humble drawing master Walter Hartright never does anything bad. The vestry fire kills the evil “Sir” Percival and the Italian society finally catches up with Fosco. In the end, the hero and heroines live happily ever after at Limmeridge House.

The idea that appearance does not necessarily correspond with reality is central to The Woman in White. Laura Fairlie does not appreciate this distinction and her innocent naivete brings about her downfall when she accepts Percival. A similar theme is the lack of correspondence between word and meaning. For example, the name Anne Catherick on Laura's clothes in the asylum is presented by the nurse as evidence of her identity, the name engraved on the tombstone is wrong, and the brand on Fosco's arm belies his treachery to the secret Italian society. An extension of the idea of reality versus appearance is the role of propriety or social convention in human behavior.

Propriety represents conformity with social convention and a system of rules to govern social behavior. Propriety is good for society in that it promotes acceptable standards for human behavior but it can be deceptive and even harmful in that an individual person's behavior in a social setting may not correspond with the reality below the surface. It is this regard for appearances as opposed to reality that gets Marian and Laura into trouble when lower class Hartright falls in love with upper class Laura. Count Fosco has the appearance of propriety but is undeniably the most evil character in the book. Throughout The Woman in White, propriety and appearance are contrasted with reality. Although Percival is a deplorable character, his evil is quite visible on the surface and is merely physical. The evil of Count Fosco is much more dangerous because of his intelligence and deceptive behavior.

Several other themes are expressed in The Woman in White, for example, the impotence of the legal system. Law has little to do with the abstract sense of justice but rather is a formality (as is propriety) that serves the ruling groups of society. For example, Mr. Kyrle doubts that Hartright would have a case if he tried to prove Laura's identity in a court of law. Another theme is Collins' attitude about the inadequacy of the Victorian laws of marriage and inheritance. It is this inadequacy that leads to Laura's tragedy. Yet another theme is that knowledge and intellect are more powerful that brute strength. Consider for example, Marian's eavesdropping on the conversation between Fosco and Percival, the effect of Fosco's reading Marian's diary, and the meticulous research that Hartright conducts in his documentation of Fosco's deception. This contrast between the effectiveness of intellect versus force is embodied in the characters of Fosco as compared to Percival.

In what light are women presented in The Woman in White? In 1944, Dorothy Sayers said: "Collins is genuinely feminist in his treatment of women." Laura embodies the common representation of women in Victorian literature and what befalls her can be interpreted as Collins' dissatisfaction with this view of women. On the other hand, Marian is more of a modern woman. Her strength and resources rise above what is considered feminine by Victorian social convention. There is an ironic pattern of gender ambiguity in The Woman in White. Fosco is somewhat feminine and childlike (e.g. his taste for sweets and small pets) but he is the epitome of evil. Marian is masculine (see for example Hartright's original description of her). Even Sir Percival has a feminine nose. Thus, the categories of masculine and feminine are insufficient to cover the entire spectrum of human sexuality and gender. In this sense, Collins can be considered a feminist. ( )

The Woman in White is a Victorian mystery that is considered to be one of the best mysteries ever written. Written in 1859, it takes the form of an early detective novel with an amateur sleuth. The plot (man marries woman and schemes to get her money), albeit predictable by today's standards, is plausible, entertaining and, at times, slightly suspenseful. I attribute this slightness to the Victorian language itself. I'm not a fan of that style of speaking and found myself frustrated at times and thinking just get on with it all ready, stop dragging things out. The story is told from the viewpoints of several characters – much like a legal deposition where each character relates what he/she knows about certain events.

The characters were interesting and memorable; however, I was disappointed in the characterization/treatment of women – weak and inferior. Was this an accurate portrayal for the times? I don't know. I have read other Victorian novels and didn't come away with the same feeling. Because of his portrayal of women, Mr. Collins didn't do justice to Marion Halcombe, one of the more memorable characters in the novel. A greater role would have been appreciated more by today's society but, in 1859, who knows. Creating a lead woman character who 'out thinks' a man may have been taboo. The other memorable character was Count Fosco, the mastermind behind everything evil in the world. I am being a bit facetious; however, the character was so full of himself that I couldn't help but inflate his imaginary ego a little more. His character was fully developed – I didn't like him and found him frustrating – once again this could be attributed to the Victorian language.

Overall, I did like the novel; however, the above issues prevent me from giving it more than three stars. I recommend to those who enjoy Victorian literature and those who would like to read one of the first mystery novels. This is a long book and not a quick read – you will be in it for the long haul – which you will enjoy. ( )

Thee is quite a lot to say about this book: the story itself, a case of stolen identity, Sir Percival who was not, the eponymous woman in white, interchangeable with Laura Fairlie, the technique of multiple narrators, pulled off to greater or lesser degree depending on the strength of the narration itself, the amazing characters, from Hartright to Marian Halcombe to the Count Fosco, all this and more packed tightly in this six hundred plus page novel.

I really enjoyed it. The story immediately sucked me in and held me rapt through the first two epochs. Not until the third epoch did it lose its suspenseful edge. At this point the story ceases to move forward and starts to be seen in retrospect. In my estimation this took a lot of the steam out of the pace, but was, in its own way, necessary and ultimately fulfilling.

I heartily recommend this read to anyone looking for a nice, suspenseful, Victorian mystery carried through with taste, wit, imagination, and style. ( )

On a warm summer night, Walter Hartright walks towards his home in London when he is stopped by a mysterious lady in white. Without realizing just what the implications mean, he is touched by her plea for help, and so assists her, and is drawn into a ring of deceit, mystery, and danger...

My Thoughts:
(Some spoilers)

The narration of the story is something different that I've not encountered before- the tale has several different narrators throughout- each moving the story along through their eyes. While it is an interesting way of doing things, especially since one gets a clear picture of how the events are seen through the eyes of the main characters, I'm not entirely sure that I like it all that much, or would want to read many books like that. It's interesting, but to make the reader jump from narrator to narrator and force them to re-accustom themselves with a new narrator perhaps is a risky thing to do.

I found each character well written- especially, as much as I don't like him, the Count. He was a multi-layered person and at times I actually wondered if he truly was good, but I reminded myself that he probably was not. If Sir Percival was the obvious (after he married Laura) villain, the Count was the one that had a evil air about him but one could not quite be sure. His admiration of Marian helps to give the readers a sense that he could act convincingly good, but leaves lingering questions in the minds of the readers as to the other side of him. At the end, of course, I felt no pity for him, I was (as morbid as it may sound) glad that some sort of justice was measured out upon him.

As to the good characters, I loved the relationship between Marian and Laura, despite them being half sisters. I enjoyed Walter's various detective methods and ways of investigation, he was certainly very clever. Some people seem to have a problem with Laura being only a two dimensional character, and while perhaps she isn't as strong as Marian, but I in all honestly don't mind. I found her a lovely character- just one trapped in her circumstances.

Now, there are some things that I did not like so much about it. (Some spoilers, sorry!) Several parts of the plot hinge on affairs between people who were not married, even some suggested scandal between married people and those who were not. While all these events happened in the past, they figured into the current events in the story quite a bit. They are never described in detail, but they are mentioned more then once. I was extremely disappointed by this. To me it was the reason I don't like the book as much as perhaps I could have liked it. There is also mention of emotional and mental abuse (some of it in past events, some of it in current) which I didn't enjoy- even if it had to be part of the story.

I could probably more easily recommend this book then Daniel Deronda, but parts of me are still unsure. Obviously, I cannot quite finalize my thoughts in the time since I've actually finished the book, so perhaps once I think on it some more, I'll be more decisive and final about that.

To sum it up: It was a very enthralling story that draws the readers in and for the most part, doesn't disappoint, but there are some twists and turns that I wish had of been written differently. Aside from that, it's a very well written mystery novel. ( )

I have spent the past week with this wonderful wordy trip back in time. The book created quite a sensation when it was released in serialization (hence the wordiness) both in England and the U.S. in 1859. It grabbed my attention with the first line: "This is the story of what a woman's patience can endure, and what a man's resolution can achieve."

I find it interesting that Collins begins with the characteristics of women and men because I have a bone to pick with Mr. C. Why on earth does he have to portray Laura Fairlie as beautiful, though spineless and witless in contrast to her half-sister Marian Halcombe who is homely while being spunky, engaging, and bright? Or as Walter Hartright noted to himself at their first meeting: the lady is dark, the lady is young, "the lady is ugly."

Now I really liked this book, just did not care for the way the women were denigrated. Other than the brilliant Marian, the only intelligent female in the book was Nina the Greyhound who uncharacteristically growled at Sir Percival. Well, maybe I can forgive the treatment of women because of the smattering of humor. Uncle Fairlie's exaggerated pomposity and drama had me laughing out loud.

As to plot, let's just say that it is a dark tale of thwarted love, greed, and suspense. I loved the eerieness of the ghost-like Woman In White, and was almost disappointed when her identity was revealed. It seemed like the details of the conspiracy and the mystery of the Secret was too contrived and plodding. Hint: any time the word "secret" is capitalized in a book, its revelation will be a let-down.

My edition of this book is 617 pages. Now if that is all the fault I can find with it, you can see that 95% of this book was totally engaging. I have The Moonstone queued up to read later this year. ( )

Like one of the earlier reviewers, I wonder why I'd never heard of Wilkie Collins before. This was a thoroughly enjoyable read, complete with mystery, intrigue, betrayal, love, Victorian morals and much humor. His writing is on par with his contemporary, Charles Dickens, and one of my favorite contemporary writers, Sarah Waters, has obviously been inspired by Wilkie Collins' writing.

Collins has peopled his book with some flamboyant, fussy and farcical characters. One of the most flamboyant, Count Fosco, narrates part of the tale and declares, "What a situation! I suggest it to the rising romance writers of England. I offer it, as totally new, to the worn-out dramatists of France."

Another of the most memorable characters, Uncle Frederick Fairlie, laments "It is the grand misfortune of my life that no one will let me alone."

The story is narrated by a number of different people through journal entries, letters, and straight narration as if it were an epic inquest. Collins was probably one of the first to use this technique in English literature. It works very well in this tale. Some of the voices are a bit too similar, but others, such as Fairlie and Fosco, lend a wonderful color to the narration.

I have another Collins book on my shelf - The Moonstone -- and look forward to reading it. I'm also itching to read some Dickens now. Collins has managed to start me on a path from which I may not return for quite awhile! ( )

What a classic! This delightful gothic suspense novel was apparently one of the first novels to use multiple narrators. It is a 500 page book, and my attention and suspense were maintained throughout. You know how it goes.....The frail young woman, her thwarted lover, her powerful sister, dishonest and dangerous husband, and a host of other interesting characters. Perfect summer read! ( )

Why did no one ever tell me about this book? Why did no one ever tell me about Wilkie Collins? A contemporary of Dickens, Collins was very popular in his lifetime, but somehow, in all my many years of school and college, I never heard his name or his books mentioned. Makes me wonder what other authors I may have missed.

This novel is described as the first of the English “sensation novels”, what we would call in the U.S. a thriller. If Collins invented this format he was a genius. This novel has the elements we identify with a thriller. Its only weak points are its treatment of women as a somewhat helpless and inferior species, but I could easily say the same thing of Dickens. Even though one of the female characters (Marian) is instrumental in thwarting the plot Count Fosco (what a name for a villain) it is left to the male character to actually resolve things.

But it’s a great read, actually a lot more approachable than some of the Dicken’s novels. I wish that, as a high school junior, I had been given this to read instead of “A Tale of Two Cities”. ( )

Kept my attention throughout. The core mystery was well conceived, freakish without being hopelessly unrealistic, and the characters (with perhaps the exception of Laura Fairlie) were rounded and three-dimensional. I did, however, grow frustrated with Collins's penchant for taking 100 words to say what could have been said in 10. His prose grows monotonous and repetitious. ( )

"Oh! It's starting to get good," I exclaimed to my husband on more than one occasion as I read The Woman in White before bedtime. "Never mind," I would later add, having read the next paragraph. He was utterly surprised then when I commented how much I liked the book upon finishing it. He wanted to know if the ending made up for the slow start. I found myself trying to explain to him that I didn't really mind the slow start, but I think it was lost on him. Just as I am sure you might think I am crazy too. For all the whining and complaining I did about how long it took me to read The Woman in White, you'd think I was miserable reading it. Bored even.

I actually really liked the book when I was reading it. I loved it, in fact. My references to it finally getting good wasn’t so much a pronouncement that it was not good, just my expectation that a big revelation was coming. Wilkie Collins sure knew how to create suspense, but it a more quiet and subtle way than today’s thrillers often do. I loved the author's long windedness and his drawing out of events. I loved his use of language and his ability to pull me into the story. I felt like I got to know each of the characters and was standing right there beside them in every scene. I could predict how certain characters would react to certain events because I had come to know them so well. I could visualize perfectly the various places in which the story took place. I liked the format the author used to tell the story and appreciated the buildup of anticipation.

My impatience and desire for the book to go faster was purely based on selfish reasons, and not a reflection on the book. The Woman in White is one of those novels that requires the reader to slow down and appreciate the finer points. My timing in reading the book was off. I wasn't in the right mind set for reading a book that required my full attention and time, not to mention I had been ill while reading some of it. Once I was able to devote more time to the novel, I found the right reading rhythm, and the book seemed to move along at a more acceptable (to me) pace.

Published initially as a serial from 1959 to 1960, Wilkie Collins' novel was a great hit. So much so that it became a stage production (although unauthorized) within three months of the book's publication. My copy of The Woman and White included excerpts of letters and reviews written around the time of the book's release, which I found quite interesting. While the book garnered much praise, others were less impressed: “Had the story been wrought out in the old-fashioned way it could have been told far more effectively and in less space . . . A novelist who aims at being natural, and writes seriously, should refrain from reminding us of so broad a farce as Shakespeare’s Comedy of Errors.” [Excerpt from the Dublin University Magazine, February 1861]

Wilkie Collins' The Woman In White is told in multiple narratives, a collection of letters and journal entries used to document the events surrounding the mystery of the woman in white and that of Laura Fairlie, a lady of society whose own life and fate are intertwined with that of the title character.

From the Barnes and Noble website:
The story begins with an eerie midnight encounter between artist Walter Hartright and a ghostly woman dressed all in white who seems desperate to share a dark secret. The next day Hartright, engaged as a drawing master to the beautiful Laura Fairlie and her half sister, tells his pupils about the strange events of the previous evening. Determined to learn all they can about the mysterious woman in white, the three soon find themselves drawn into a chilling vortex of crime, poison, kidnapping, and international intrigue.

The novel is filled with an intriguing cast of characters. While the novel is plot driven from the start, the characters are well developed, from the least significant character who appears only for a page or two to the most important. My favorite of the characters will come as no surprise to those who have read the novel. Marion Halcombe is a strong and intelligent protagonist. Marion reminded me a bit of Mina Harker from Bram Stoker's Dracula. Both could rival any of the strong female leading ladies of today. There are several characters from the novel I would love to explore further: Count Fosco and Pesca in particular. They both have pasts that would make for interesting reading.

The Woman in White may be a quiet thriller at its start, but by the end, events unravel so quickly that the reader's knuckles may turn white trying to keep up. It is obvious that Wilkie Collins planned out his novel with great care, each thread carefully sown into the greater story. It is a true gothic novel at its core: dark, gloomy, romantic and thrilling. I could say so much more about this novel than I have, but I will let you experience it for yourself if you haven’t already. ( )