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Index: The Trollope Prize

Feeling for the World.

Joel Simundich: ‘In a novel focused on one leader’s aims to remap the terrain of human feeling, to eliminate the kinds of weakness that make subjects cling to life long after their lives hold social value, Crasweller’s submission, despite his demonstrated health and vigor, represents a profound reversal. ‘

Resisting Redemption.

Katharine Scott: ‘Although both the story of Lily Dale and the story of the Biblical Ruth begin with a traumatic transition to intimate maternal bonds after the death or abandonment of the central male figures, Ruth’s story brings redemption both in and through the pastoral, while Lily Dale’s stagnates, and even declines to sterility. ‘

The Temporality of Realism and Romance in ‘He Knew He Was Right’.

Sarah Faulkner: ‘Though sensational fiction is historically considered to be bound to plot, recent criticism reveals its overlooked intricacies of character development. Patrick Brantlinger regards psychological interiority as one of three defining elements of sensational fiction, exemplified by novels such as Mary Elizabeth Braddon’s ‘Lady Audley’s Secret’. Trollope’s elaborate rendering of interiority places his fiction in relation to sensational fiction.’

Performative realism.

Emily Halliwell-NacDonald: ‘As her comparison between Lufton’s love talk and his cow-talk suggest, one of the ways in which Lucy empowers her language is through the use of comedy, as she attempts to distinguish herself from the romantic Griselda Grantly.’

Love in a time of politics.

Gregory Brennen: ‘Novels do not deal well with political abstractions…”Phineas Redux” invokes the construct of marriage in order to represent and work through late Victorian political problems of expanding democracy. Marriage becomes a figure for the state, and the egalitarian marriage contract figures constitutional expansion.’

Making love in the green fields.

Molly Menickelly: ‘Darwin’s description of a perpetual struggle against the world is echoed in Trollope’s ‘Small House at Allington’—nature is not so much cruel as it is impassive. The impartiality of Trollope’s narrator and the events of his novel demonstrate an understanding of Darwinian theory. While it may be true that Trollope was no scientist, he certainly recognized the implications of Darwin’s theory for the mid-Victorian society in which he was writing.’

Battles over bits and diamonds.

Andrew Lallier: ‘However one chooses to imagine the sanctioned and the pragmatic [in ‘The Eustace Diamonds’], it is clear from the text that Trollope imagines society in a state of transition, and thus the relation between the sanctioned and the pragmatic (both of which are necessarily embedded in the social) must necessarily also be changing.’

Trollope and Self-Help.

Rebeca Richardson: ‘I read Trollope’s Autobiography as a self-help story featuring an ambitious protagonist who utilizes self-deprecation in a bid for readerly sympathy, and who depicts ambition not as a quality that threatens others, but rather, as the drive behind self-competition.’