George Eliot (1819–1880)
Author of Middlemarch
About the Author
George Eliot was born Mary Ann Evans on a Warwickshire farm in England, where she spent almost all of her early life. She received a modest local education and was particularly influenced by one of her teachers, an extremely religious woman whom the novelist would later use as a model for various show more characters. Eliot read extensively, and was particularly drawn to the romantic poets and German literature. In 1849, after the death of her father, she went to London and became assistant editor of the Westminster Review, a radical magazine. She soon began publishing sketches of country life in London magazines. At about his time Eliot began her lifelong relationship with George Henry Lewes. A married man, Lewes could not marry Eliot, but they lived together until Lewes's death. Eliot's sketches were well received, and soon after she followed with her first novel, Adam Bede (1859). She took the pen name "George Eliot" because she believed the public would take a male author more seriously. Like all of Eliot's best work, The Mill on the Floss (1860), is based in large part on her own life and her relationship with her brother. In it she begins to explore male-female relations and the way people's personalities determine their relationships with others. She returns to this theme in Silas Mariner (1861), in which she examines the changes brought about in life and personality of a miser through the love of a little girl. In 1863, Eliot published Romola. Set against the political intrigue of Florence, Italy, of the 1490's, the book chronicles the spiritual journey of a passionate young woman. Eliot's greatest achievement is almost certainly Middlemarch (1871). Here she paints her most detailed picture of English country life, and explores most deeply the frustrations of an intelligent woman with no outlet for her aspirations. This novel is now regarded as one of the major works of the Victorian era and one of the greatest works of fiction in English. Eliot's last work was Daniel Deronda. In that work, Daniel, the adopted son of an aristocratic Englishman, gradually becomes interested in Jewish culture and then discovers his own Jewish heritage. He eventually goes to live in Palestine. Because of the way in which she explored character and extended the range of subject matter to include simple country life, Eliot is now considered to be a major figure in the development of the novel. She is buried in Highgate Cemetery, North London, England, next to her common-law husband, George Henry Lewes. (Bowker Author Biography) show less
Image credit: George Eliot at 30 by François D'Albert Durade
Series
Works by George Eliot
The Best-Known Novels of George Eliot: Adam Bede, The Mill on the Floss, Silas Marner, Romola (2008) 119 copies
Silas Marner / The Lifted Veil / Brother Jacob / Scenes of Clerical Life (1880) — Author — 22 copies
Romola (2/3) 9 copies
Masterpieces from George Eliot 6 copies
Daniel Deronda, Volume 2 of 3 6 copies
Reading & Training : George Eliot : The mill on the Floss [book + sound recording] (2007) — Writer — 6 copies, 2 reviews
Miscellaneous Essays / Impressions of Theophrastus Such / The Lifted Veil / Brother Jacob (2012) 5 copies
Romance Classics: Jane Eyre / Mansfield Park / Lorna Doone / Far from the Madding Crowd / Middlemarch / Agnes Grey (2001) — Author — 5 copies
Reading & Training : George Eliot : Silas Marner [book + sound recording] (2003) — Writer — 5 copies
The Life of George Eliot (Vol. 1-3): As Related in Her Letters and Journals (Complete Edition) 4 copies
Eliot's works 4 copies
Novels of George Eliot 4 copies
Gems from George Eliot 4 copies
Classic British Fiction: Six novels by George Eliot, in a single file, improved 8/23/2010 (2008) 3 copies
Adam Bede | Felix Holt 3 copies
George Eliot: Complete Collection of Works with analysis and historical background (Annotated and Illustrated) (Annotated Classics) (2013) 3 copies
Works of George Eliot. The Mill on the Floss, Daniel Deronda, Adam Bede, Middlemarch, The Lifted Veil & more. (mobi) (2009) 3 copies
The Complete Works of George Eliot: St. James Edition:; Volume VI:; Middlemarch Part III, Silas Marner, and Daniel Deronda Part I (1908) 3 copies
George Eliot's Daniel Deronda, Abridged — Author — 3 copies
The Mill on the Floss / Romola — Author — 3 copies
The Writings of George Eliot : Scenes of Clerical Life II and The Lifted Veil (1970) 3 copies, 1 review
The Works of George Eliot, Vol. I 2 copies
The Mill on the Floss 2 copies
The Sad Fortunes of Rev. Amos Barton, Brother Jacob, the Lifted Veil, Impressions of Theophrastus Such (1887) 2 copies
George Eliot's Complete Works - Silas Marner/Spanish Gypsy/Complete Poems (Illustrated) (1908) 2 copies
George Eliot's Works: Adam Bede/Daniel Deronda/Felix Holt and Clerical Life/Middlemarch/Mill on the Floss/Romola (6 vols) (1914) 2 copies
The George Eliot BBC Radio Drama Collection: Five Full-Cast Dramatisations Including Middlemarch, The Mill on the Floss and Silas Marner (2020) 2 copies
The Works of George Eliot, Vol. XVII 2 copies
Theophrastus Such / The Spanish Gypsy — Author — 2 copies
The Complete Works of George Eliot: St. James Edition:; Volume II:; The Mill on the Floss, Brother Jacob, and Leaves from a Notebook (1908) 2 copies
The Mill on the Floss / Scenes of Clerical Life — Author — 2 copies
The Writings of George Eliot Together with the Life of J. W. Cross in Twenty-Five Volumes: Warwickshire Edition (1907) 2 copies
Daniel Deronda. Vol II 1 copy
Silas Marner (abridged) 1 copy
The wit of Heinrich Heine 1 copy
Notes on Form in Art [essay] 1 copy
Thomas Carlyle [essay] 1 copy
George Eliot Day by Day 1 copy
Daniel Deronda - Part II 1 copy
Daniel Deronda - Part I 1 copy
Ensayos 1 copy
Silus Marner 1 copy
LETTERS AND JOURNALS III 1 copy
Wise, Witty, and Tender Sayings in Prose and Verse; Selected From the Works of George Eliot (2012) 1 copy
Poems. Clerical Life 1 copy
Essays, Volume I 1 copy
The Complete Works of George Eliot: St. James Edition:; Volume VII:; Daniel Deronda Parts II and III (1908) 1 copy
Essays, Volume II 1 copy
Do You Lose Your Temper? 1 copy
Merrill's English texts 1 copy
Famous Women 1 copy
Biographie 1 copy
The Story of Little Tom and Maggie: from The Mill on the Floss of George Eliot (Famous Children of Literature) (1903) 1 copy
Silas Marner: The Weaver of Raveloe — Amos Barton (from Scenes of Clerical Life) — The Lifted Veil 1 copy
Great work of George Eliot 1 copy
George Eliot's Works 5 Volumes Romola,The Mill On The Floss,Middlemarch,Daniel Deronda,Felix Holt (1891) 1 copy
Silas Marner; the Lifted Veil, Brother Jacob; the Impressions of Theophrastus Such & Poems (1920) 1 copy
The Mill on the Floss, (DVD) 1 copy
Associated Works
The Norton Anthology of English Literature, 4th Edition, Volume 2 (1979) — Contributor — 271 copies, 1 review
Wise Women: Over Two Thousand Years of Spiritual Writing by Women (1996) — Contributor — 231 copies, 1 review
The Graphic Canon, Vol. 2: From "Kubla Khan" to the Brontë Sisters to The Picture of Dorian Gray (2012) — Contributor — 213 copies, 2 reviews
British Women Writers: An Anthology from the Fourteenth Century to the Present (1989) — Contributor — 61 copies, 1 review
The Darker Sex: Tales of the Supernatural and Macabre by Victorian Women Writers (2009) — Contributor — 55 copies, 2 reviews
The Lifted Veil: The Book of Fantastic Literature by Women 1800-World War II (1806) — Contributor — 45 copies
Weird Women: Volume 2: 1840-1925: Classic Supernatural Fiction by Groundbreaking Female Writers (2021) — Contributor — 38 copies
Out of the Best Books: An Anthology of Literature, Vol. 3: Intelligent Family Living (1967) — Contributor — 34 copies
The Gentlewomen of Evil: An Anthology of Rare Supernatural Stories from the Pens of Victorian Ladies (1967) — Contributor — 29 copies
The Origins of Science Fiction (Oxford World's Classics Hardback Collection) (2022) — Contributor — 26 copies, 1 review
Jane Eyre/ Wuthering Heights/ Little Women/ Adam Bede/ Emma/ Pride and Prejudice (1990) — Contributor — 18 copies
A Serious Occupation: Literary Criticism by Victorian Women Writers (2003) — Contributor — 15 copies
10 Penguin Classics on 45 CDs (The Mayor of Casterbridge, Pride & Prejudice, Great Expectations, Frankenstein, Jane Eyre, Crime & Punishment, Wuthering Heights, Northanger Abbey,… (2007) — Contributor; Contributor — 9 copies, 1 review
Die englische Literatur 08 in Text und Darstellung. 19. Jahrhundert 2 (1982) — Contributor — 5 copies
A reader for writers — Contributor — 2 copies
Adam Bede: A Play — Author — 1 copy
One hundred best novels condensed: 3 of 4 see note: Adam Bede; Tess of the D'Urbervilles; Don Quixote; East Lynne; Count of Monte Cristo; Paul and Virginia; Tom Brown's School… — Contributor — 1 copy
English short stories of the nineteenth century — Contributor — 1 copy
Tagged
Common Knowledge
- Canonical name
- Eliot, George
- Legal name
- Evans, Mary Ann
- Other names
- Evans, Marian
Cross, Mary Anne - Birthdate
- 1819-11-22
- Date of death
- 1880-12-22
- Gender
- female
- Education
- Mrs. Wallington's School (Nuneaton, Warwickshire, England, UK)
- Occupations
- novelist
editor
poet
translator
journalist - Relationships
- Cross, J. W. (husband)
Lewes, George Henry (partner)
Hennell, Sara (friend)
Spencer, Herbert (friend)
Evans, Gwyn (great-nephew) - Short biography
- Mary Ann Evans (22 November 1819 – 22 December 1880; alternatively Mary Anne or Marian, known by her pen name George Eliot, was an English novelist, poet, journalist, translator and one of the leading writers of the Victorian era. She wrote seven novels, Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1862–63), Felix Holt, the Radical (1866), Middlemarch (1871–72) and Daniel Deronda (1876), most of which are set in provincial England and known for their realism and psychological insight.
Although female authors were published under their own names during her lifetime, she wanted to escape the stereotype of women's writing being limited to lighthearted romances. She also wanted to have her fiction judged separately from her already extensive and widely known work as an editor and critic. Another factor in her use of a pen name may have been a desire to shield her private life from public scrutiny, thus avoiding the scandal that would have arisen because of her relationship with the married George Henry Lewes.
Middlemarch has been described by the novelists Martin Amis[3] and Julian Barnes as the greatest novel in the English language. Published under the name J. T. Colgan. - Cause of death
- throat infection
- Nationality
- UK
- Birthplace
- Nuneaton, Warwickshire, England, UK
- Places of residence
- Nuneaton, Warwickshire, England, UK
London, Middlesex, England, UK - Place of death
- London, Middlesex, England, UK
- Burial location
- Highgate Cemetery, Highgate, London, England, UK
- Map Location
- England, UK
Members
Discussions
Happy Birthday, George Eliot in Book talk (November 2025)
December 2024: George Eliot in Monthly Author Reads (February 2025)
Group read: Curious, If True by Elizabeth Gaskell / The Lifted Veil by George Eliot in Virago Modern Classics (May 2024)
Victorian Readalong Q4: Middlemarch by George Eliot in Club Read 2022 (December 2022)
George Eliot and George Henry Lewes in Legacy Libraries (March 2022)
March 2021: George Eliot in Monthly Author Reads (February 2022)
Group Read: Middlemarch, Second Thread in 75 Books Challenge for 2010 (October 2018)
Middlemarch: The Chatty Bits (Spoilers Go Here) in The Green Dragon (March 2015)
Group Read, September 2014: The Mill on the Floss in 1001 Books to read before you die (September 2014)
Middlemarch Group Read 2014 in 75 Books Challenge for 2014 (August 2014)
Middlemarch group read in 2014 Category Challenge (April 2014)
Daniel Deronda in Geeks who love the Classics (April 2013)
Group Read: Middlemarch, Third Thread in 75 Books Challenge for 2010 (February 2011)
Group Read: Middlemarch in 75 Books Challenge for 2010 (November 2010)
***Group Read: Middlemarch Books 7-8 in 1001 Books to read before you die (September 2010)
***Group Read: Middlemarch Books 5-6 in 1001 Books to read before you die (August 2010)
***Group Read: Middlemarch Books 3-4 in 1001 Books to read before you die (August 2010)
***Group Read: Middlemarch Prelude & Books 1-2 in 1001 Books to read before you die (August 2010)
Middlemarch in Victoriana (December 2009)
Middlemarch: Book I in Group Reads - Literature (May 2008)
Middlemarch (Spoilers Here) in Connecticut Nutmeggers (March 2008)
Middlemarch (SPOILER FREE) in Connecticut Nutmeggers (August 2007)
Reviews
George Eliot paints people in a way that brings them to life. This book, is all about the contrast of personalities, the resonating effects of prejudice, and the challenges of conflicting ties. I loved it, even as I cringed at the behavior of many of the characters.
I did not like the ending.Not because Maggie died. I had been expecting her death from the moment she woke up on the boat, fleeing with her lover. What I hated was that in the end, it was the acceptance and love of her show more emotionally abusive brother Tom that brought Maggie peace. He didn't change at all, and I have no doubt that if he hadn't died, it would have only a matter of time before he was pushing her away and condemning her excessively once again.
My happy world ending would have had Maggie eventually realize how to navigate the narrow space between severing any tie that seems onerous, as Stephen Guest would have her do, and severing those that are truly unhealthy, as Maggie herself is unable to do, and thus finding happiness. But even an ending where Maggie dies miserable because she is trying to be true to a set of conflicting demands would have been preferable to giving way before the slightest friendly look from her brother.
All that said, I don't think we're supposed to be satisfied with the ending. I think this is supposed to be a tragedy, a tragedy not just because of death, but because Maggie, in the end, is never able to overcome the weakness that has haunted her from her earliest days. Eliot does not, I think, expect us to like or forgive Tom. show less
I did not like the ending.
My happy world ending would have had Maggie eventually realize how to navigate the narrow space between severing any tie that seems onerous, as Stephen Guest would have her do, and severing those that are truly unhealthy, as Maggie herself is unable to do, and thus finding happiness. But even an ending where Maggie dies miserable because she is trying to be true to a set of conflicting demands would have been preferable to giving way before the slightest friendly look from her brother.
All that said, I don't think we're supposed to be satisfied with the ending. I think this is supposed to be a tragedy, a tragedy not just because of death, but because Maggie, in the end, is never able to overcome the weakness that has haunted her from her earliest days. Eliot does not, I think, expect us to like or forgive Tom.
Some discouragement, some faintness of heart at the new real future which replaces the imaginary, is not unusual, and we do not expect people to be deeply moved by what is not unusual. That element of tragedy which lies in the very fact of frequency, has not yet wrought itself into the coarse emotion of mankind; and perhaps our frames could hardly bear much of it. If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart show more beat, and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well wadded with stupidity.
Middlemarch is truly one of the greatest novel's I've ever read. With the possible exception of Moby-Dick, it's the most impressive English language novel of the 19th century. The psychological depth with which Eliot imbues her characters is unparalleled. Her wit, sophistication, and literary acumen are present on every page. Perhaps most impressively, the novel manages to express profound moral understanding without ever becoming moralizing. Eliot's philosophical insights into the nature of virtue, sympathy, and social relationships seems to me unparalleled by Dickens, Twain, Dostoevsky, James, Flaubert, or any of the other comparable writers of her era. The only criticism I can muster is that occasionally her syntax can become a bit unwieldy, but this criticism can be leveled (often more justifiably) against any novelist of the 19th century. As such, this observation does nothing to weaken my admiration for Eliot's work. In sum, Middlemarch is something special—something I would recommend to anyone who claims a love of great literature. show less
Middlemarch is truly one of the greatest novel's I've ever read. With the possible exception of Moby-Dick, it's the most impressive English language novel of the 19th century. The psychological depth with which Eliot imbues her characters is unparalleled. Her wit, sophistication, and literary acumen are present on every page. Perhaps most impressively, the novel manages to express profound moral understanding without ever becoming moralizing. Eliot's philosophical insights into the nature of virtue, sympathy, and social relationships seems to me unparalleled by Dickens, Twain, Dostoevsky, James, Flaubert, or any of the other comparable writers of her era. The only criticism I can muster is that occasionally her syntax can become a bit unwieldy, but this criticism can be leveled (often more justifiably) against any novelist of the 19th century. As such, this observation does nothing to weaken my admiration for Eliot's work. In sum, Middlemarch is something special—something I would recommend to anyone who claims a love of great literature. show less
Six-word review: Humanity closely observed and lovingly rendered.
Extended review:
No author has ever been so unfailingly compassionate toward her characters. Even the weak, vain, and reprehensible ones are human, their flaws and vices a matter of degree and nothing black or white. With her gift of insight, George Eliot shows us their hearts, and with her faceted mirrors she casts their reflections onto us. Her capacity for rendering inner lives that ring with truth is unsurpassed.
Middlemarch show more is the name of a fictitious small English town of the early nineteenth century. Subtitled "A Study of Provincial Life," the narrative follows several characters whose stories are intertwined. Like so many other British novels from serious to comic, it seems to focus greatest attention on two things: marriage and money. But Eliot does not use stock characters or easy clichés. The idealistic young woman, the obsessed cleric, the troubled doctor, his indulged, imprudent young wife, and all the others, both major and minor, possess the particularity that confers verisimilitude and the universality that speaks to readers across time, space, and circumstance.
Here is a small selection of quotes that illustrate Eliot's style, her wit, and her warmth. I read a Kindle edition, so I can't supply page numbers; I'll give chapter references instead.
• Sane people did what their neighbors did, so that if any lunatics were at large, one might know and avoid them. (Book I, Chapter I)
• "He has got no good red blood in his body," said Sir James.
"No. Somebody put a drop under a magnifying-glass and it was all semicolons and parentheses," said Mrs. Cadwallader. (Book I, Chapter VIII)
• And certainly, the mistakes that we male and female mortals make when we have our own way might fairly raise some wonder that we are so fond of it. (Book I, Chapter IX)
• Mr. Bulstrode had also a deferential bending attitude in listening, and an apparently fixed attentiveness in his eyes which made those persons who thought themselves worth hearing infer that he was seeking the utmost improvement from their discourse. Others, who expected to make no great figure, disliked this kind of moral lantern turned on them. If you are not proud of your cellar, there is no thrill of satisfaction in seeing your guest hold up his wine-glass to the light and look judicial. Such joys are reserved for conscious merit. (Book II, Chapter I)
• It was a principle with Mr. Bulstrode to gain as much power as possible, that he might use it for the glory of God. He went through a great deal of spiritual conflict and inward argument in order to adjust his motives, and make clear to himself what God's glory required. (Book II, Chapter IV)
• [O]ne's self-satisfaction is an untaxed kind of property which it is very unpleasant to find deprecated. (Book II, Chapter IV)
• [I]t was plain that a vicar might be adored by his womankind as the king of men and preachers, and yet be held by them to stand in much need of their direction. (Book II, Chapter V)
• Besides, he was a likeable man, sweet-tempered, ready-witted, frank, without grins of suppressed bitterness or other conversational flavors which make half of us an affliction to our friends. (Book II, Chapter VI)
• There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet. (Book II, Chapter VII)
• ...the red drapery which was being hung for Christmas spreading itself everywhere like a disease of the retina. (Book II, Chapter VIII)
• If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well wadded with stupidity. (Book II, Chapter VIII)
• We are all of us born in moral stupidity, taking the world as an udder to feed our supreme selves. (Book II, Chapter IX)
These are but a sampling of the first two books of eight. I won't go on, as I could do for pages, but I must add this beautiful evocation of two people falling in love:
• Each looked at the other as if they had been two flowers which had opened then and there. (Book IV, Chapter IV)
Eliot's words are, to me, the superlatively rendered expression of a sublime sensibility. I won't try to persuade anyone of that who doesn't see it the same way. I'll just say this: when I have no more than five stars to award to a novel like Middlemarch, it's hard to give that many to anything else. show less
Extended review:
No author has ever been so unfailingly compassionate toward her characters. Even the weak, vain, and reprehensible ones are human, their flaws and vices a matter of degree and nothing black or white. With her gift of insight, George Eliot shows us their hearts, and with her faceted mirrors she casts their reflections onto us. Her capacity for rendering inner lives that ring with truth is unsurpassed.
Middlemarch show more is the name of a fictitious small English town of the early nineteenth century. Subtitled "A Study of Provincial Life," the narrative follows several characters whose stories are intertwined. Like so many other British novels from serious to comic, it seems to focus greatest attention on two things: marriage and money. But Eliot does not use stock characters or easy clichés. The idealistic young woman, the obsessed cleric, the troubled doctor, his indulged, imprudent young wife, and all the others, both major and minor, possess the particularity that confers verisimilitude and the universality that speaks to readers across time, space, and circumstance.
Here is a small selection of quotes that illustrate Eliot's style, her wit, and her warmth. I read a Kindle edition, so I can't supply page numbers; I'll give chapter references instead.
• Sane people did what their neighbors did, so that if any lunatics were at large, one might know and avoid them. (Book I, Chapter I)
• "He has got no good red blood in his body," said Sir James.
"No. Somebody put a drop under a magnifying-glass and it was all semicolons and parentheses," said Mrs. Cadwallader. (Book I, Chapter VIII)
• And certainly, the mistakes that we male and female mortals make when we have our own way might fairly raise some wonder that we are so fond of it. (Book I, Chapter IX)
• Mr. Bulstrode had also a deferential bending attitude in listening, and an apparently fixed attentiveness in his eyes which made those persons who thought themselves worth hearing infer that he was seeking the utmost improvement from their discourse. Others, who expected to make no great figure, disliked this kind of moral lantern turned on them. If you are not proud of your cellar, there is no thrill of satisfaction in seeing your guest hold up his wine-glass to the light and look judicial. Such joys are reserved for conscious merit. (Book II, Chapter I)
• It was a principle with Mr. Bulstrode to gain as much power as possible, that he might use it for the glory of God. He went through a great deal of spiritual conflict and inward argument in order to adjust his motives, and make clear to himself what God's glory required. (Book II, Chapter IV)
• [O]ne's self-satisfaction is an untaxed kind of property which it is very unpleasant to find deprecated. (Book II, Chapter IV)
• [I]t was plain that a vicar might be adored by his womankind as the king of men and preachers, and yet be held by them to stand in much need of their direction. (Book II, Chapter V)
• Besides, he was a likeable man, sweet-tempered, ready-witted, frank, without grins of suppressed bitterness or other conversational flavors which make half of us an affliction to our friends. (Book II, Chapter VI)
• There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet. (Book II, Chapter VII)
• ...the red drapery which was being hung for Christmas spreading itself everywhere like a disease of the retina. (Book II, Chapter VIII)
• If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well wadded with stupidity. (Book II, Chapter VIII)
• We are all of us born in moral stupidity, taking the world as an udder to feed our supreme selves. (Book II, Chapter IX)
These are but a sampling of the first two books of eight. I won't go on, as I could do for pages, but I must add this beautiful evocation of two people falling in love:
• Each looked at the other as if they had been two flowers which had opened then and there. (Book IV, Chapter IV)
Eliot's words are, to me, the superlatively rendered expression of a sublime sensibility. I won't try to persuade anyone of that who doesn't see it the same way. I'll just say this: when I have no more than five stars to award to a novel like Middlemarch, it's hard to give that many to anything else. show less
I blame BBC's adaption of Elizabeth Gaskell's North and South for my obsession with this book. You know that gorgeous green striped dress that Margaret wears at the train station? Well I was putting movies away at work and I saw that dress on the back of a cover. It was Romola Garai on the back of BBC's Daniel Deronda. Given the fact that the cover also contained Hugh Dancy (someone I have loved since my Ella Enchanted days), I took it home and was hooked.
Middlemarch had been on my list show more for a while but this Eliot novel rose in priority. I loved it. I loved Mirah and her fierce devotion to her country, culture and belief system. I loved Daniel and his staunch commitment to behaving in alignment with his beliefs. I felt for Gwendolyn in her naivety and, well, fear. Because isn't it fear that motivates her?
Eliot is a master of creating living, breathing, growing characters. I'm excited to read more of her work. show less
Middlemarch had been on my list show more for a while but this Eliot novel rose in priority. I loved it. I loved Mirah and her fierce devotion to her country, culture and belief system. I loved Daniel and his staunch commitment to behaving in alignment with his beliefs. I felt for Gwendolyn in her naivety and, well, fear. Because isn't it fear that motivates her?
Eliot is a master of creating living, breathing, growing characters. I'm excited to read more of her work. show less
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Statistics
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- 379
- Also by
- 67
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- Popularity
- #230
- Rating
- 3.9
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- 957
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