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    The Woman in White
    The Woman in White
    The Woman in White
    Ebook889 pages17 hours

    The Woman in White

    By Wilkie Collins

    4/5

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    The Woman in White is Wilkie Collins' fifth published novel, written in 1859. 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 is sometimes considered an early example of detective fiction with the hero, Walter Hartright, employing many of the sleuthing techniques of later private detectives. The use of multiple narrators draws on Collins's legal training, and as he points out in his Preamble: "the story here presented will be told by more than one pen, as the story of an offence against the laws is told in Court by more than one witness". In 2003, Robert McCrum writing for The Observer listed The Woman in White number 23 in "the top 100 greatest novels of all time", and the novel was listed at number 77 on the BBC's survey The Big Read (font: Wikipedia)
    LanguageEnglish
    PublisherWilkie Collins
    Release dateAug 10, 2015
    ISBN9786050404616
    Author

    Wilkie Collins

    William Wilkie Collins (1824–1889) was an English novelist, playwright, and author of short stories. He wrote 30 novels, more than 60 short stories, 14 plays, and more than 100 essays. His best-known works are The Woman in White and The Moonstone.

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    Reviews for The Woman in White

    4/5

    2,765 ratings173 reviews

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    • 5/5
      This epic tale of women abused by society because they had no legal rights is the story that led to changes in British law. This story awakened the women's rights movement in England.
    • 3/5
      My rating of this classic Victorian mystery novel varied as I slogged through it. The first 50 pages seemed excruciatingly slow and mawkishly written, even by Victorian standards. But my interest revved up as the story proceeded and most of the way I was eagerly turning the pages, extremely engaged and empathizing with the characters, especially the "most interesting" Miss Halcombe (I confess a profound weakness for intelligent and selfless women.)

      The last fifth of the novel seem anticlimactic though, with a deus ex machina plot solution that seemed an overgenerous gift of the storyteller to his beleaguered characters.

      On page 400 or so I probably would have given this 4 or even 5 stars, but because of these weaknesses, on sum I give it 3.
    • 5/5
      This book is a Victorian "mystery" told by multiple narrators. It is a great read, albeit long. 1005 pages
    • 5/5
      Good old-fashioned story-telling at its best! Though the British insistence on class distinctions and the characterization of women are often maddening, the strong narrative and compelling mystery at the center of this novel easily overcome these annoyances. Collins had a wide-ranging influence on his contemporary authors, and his work deserves to be more widely read today.
    • 4/5
      It's easy to think that cultural sensations like Game of Thrones or Harry Potter are unique to 21st century life, but The Woman in White, a serialized Victorian novel published in 1860 was just as much of a cultural phenomenon in its day. And I'm here to tell you that it holds up! This story of greed, chance, look-alikes, madness, forgery, complicated British inheritance laws, thwarted love, murder, and a couple of truly amazingly drawn Italians (one good, one so wonderfully bad) is just as much of a page turner 160 years after its publication. Collins tells his story as a kind of a legal disposition with characters stepping into to tell their memories or share their diary entries surrounding the tragic and compelling story of Anne Catherick, the woman in white herself, and Laura Fairlie, a wealthy and innocent young woman who bears a strong resemblance to Anne. This technique helps highlight Collins' knack for creating characters with unique voices, while also letting certain unreliable narrators be as unreliable as they want without an omniscient narrator stepping in to straighten things out. It's hard to do any justice to the plot of this 500+ page novel in (and to avoid any spoilers) in a summary, so I'll just encourage anyone with a love for Victorian sensationalism to dig in. My only real criticism is that the book loses some of its drive as we reach the conclusion: in part this is a natural side effect of needing to tie up all the loose ends, but it is also a result of losing the amazing voice of Marian Halcome, Laura's devoted half-sister, in the third volume of the book. More Marian and more Fosco!
    • 4/5
      This was a surprisingly engaging novel. I did not think, due to the style, that I would enjoy it at first-- but I was proven wrong time and time again. There is much to like here and much to learn. Collins is a skillful writer that carries you along the story-line like helping someone cross the street. The plot is always engaging and that is rarely, if at all, a moment wasted in the expanse of the plot-line. The characters are flawed, but likeable. The setting is pivotal and not overwrought by any effusions of "purple prose." All in all, this was a great book and it will not be my last selection from Collins-- who I had never heard of previous to picking this up at random from my local college library. A big thumbs up. Well done, Mr. Collins.
    • 4/5
      Shortly before reporting to Limmeridge House in northern England where he has been employed as a drawing master, Hartright is on one of his frequent walks throughout London neighborhoods. He encounters a mysterious woman dressed in white who seeks his assistance with directions. After the two depart, he learns shortly from the police that the woman has recently escaped from an asylum. Later, when he reports to Limmeridge House, he discovers that one of his students, Laura Fairlie, the manor's master, bears a close resemblance to the woman in white. The young artist quickly falls in love with Laura only to be told by Laura's devoted half-sister, Marian Halcombe, that she is betrothed to the baronet, Sir Percival Glyde. Wishing not to disturb the future marriage, Hartright terminates his position.This novel, published in 1859, is considered one of the earliest mystery novels. Generally, when I read a classic, the literary styling and language is so cumbersome that I rarely rate it higher than three stars. Not only did I find the language easy to understand, but I found the story very engaging. Much of the first half of the novel was setting the stage for the second half, which seemed typical for many 19th century classics; however, once the suspense began, my attention was held page by page until a satisfactory ending.
    • 3/5
      This was an enjoyable read and would have most probably have got a better rating if it wasn't for how long winded it was.
    • 3/5
      Walter Hartright first meets this mysterious woman while walking along a deserted road; she was a solitary, unusual woman who is dressed from head to foot in white garments. He talks with her and then she disappears. In this way the "Woman in White" begins. It is a fascinating mystery novel full of twists and turns, mistaken identities, and surprise revelations. I loved this book and the investigating that Walter Hartright does, after his first encounter with the woman in white, to uncover her identity. This book was a bit dated in parts, but overall a strange, eerie mystery tale that is well worth reading. It deserves 3 1/2 stars.
    • 3/5
      Finally finished this fatty book! It reminded me a bit of Dracula. It was written through the narratives and letters and diaries of various characters and is slow moving..very much like Dracula. It was a bit interesting, but could have moved faster. But I think that's just the way things were written back then.
    • 5/5
      Finally. That took me months to read, not because I didn't enjoy it but just everything else that got in the way. I tried it on audio, it didn't stick so I set it down forever. Then I switched to kindle and got insanely busy. Finally got it finished though. It was a lot of fun, I really enjoyed it. I'll definitely be reading more Wilkie Collins in the future, but it may be just a little bit before I get to them.
    • 5/5
      Eerie but not frightening, wonderfully paced plot, characters you like and understand.
    • 1/5
      An excellent example of why authors shouldn't be paid for the amount of words they write. There were multiple times when I wanted to stop, but there were the reading challenges and a few plot points were actually interesting. I can forgive the overly dramatic intrigue that makes no sense, why didn't they just kill Laura and shut up Anne in the asylum, where she would have died anyway, but my biggest issue with the book is Walter falling for dumb, stupid, no-personality,perfect-Victorian-angel Laura while clearly the better woman is Marian, who is smart, is driven, and has crazy amounts of agency including the fact that risks her life to eavesdrop on Sir Percival and the count to save her sister. Men, gah!
    • 3/5
      When I learned that “The Woman in White” was one of the three best-selling sensation novels on the nineteenth century I naturally had high hopes. Having read one of the other two best sellers – M. E. Braddon’s “Lady Audley’s Secret” – and thoroughly enjoyed it, I expected “The Woman in White” to at least equal Ms Braddon’s brilliance.Alas! It did not come up to scratch, though that’s not to say it wasn’t any good. Just didn’t meet my expectations. I found it too rambling at times, as though it’s long for the sake of being long.
    • 3/5
      (Original Review, 1981-01-25)Beauty is completely subjective, and in Victorian times when this novel was written, the ideal of beauty was extremely different to what we would consider attractive now. Blond, blue eyed, curly hair and very pale was considered lovely. Women went to incredible lengths to achieve the paleness - even deliberately trying to catch consumption or tapeworms as that would help achieve the extreme paleness, weakness and general lying on the sofa because you are too pathetic to do anything else look. This is not a general look that is found attractive nowadays. Then, just simply having dark hair / eyes was enough to be considered 'ugly'. And then, Marion’s sheer physical energy and liveliness would have been found unappealing and a bit disgusting (I seem to remember from the book that she favoured 'natural dress', eschewing all the corseting necessary to achieve the Victorian shape), whereas today that is much more in line with what we find attractive.In my opinion, Rosanna's interest is twofold: on the one side her character provides the melodramatic ingredient essential to any typical sensation novel, which is the genre that constituted Collins's main audience; on the other, the secrecy of her behaviour allows The Moonstone to linger for a couple of hundred pages more than it normally would on a modern narrative. Besides a myriad of details concerning the full gallery of personages in the novel, The Moonstone's inordinate (for a thriller) page-count relies on two main facts:a) Rachel's refusal to recount the fateful night's chain of events;b) Rosana's intriguing responses and sudden disappearance (not to hurt @Palfreyman's 'Spoiler Alert' proclivities).Without Rosanna Spearman The Moonstone would be a much shorter novel; but it's all due to Collins's talent that he could make so much with so little. Rosanna Spearman is indeed a very interestig character. Her real origins are covered in mystery but Collins drops some hints as to her possible genteel upbringing despite her former career as a thief and sojourn in the reformatory school. One of the other characters (I forget whom) notices her demeanour as that of a lady's, and then there's the famous letter. That someone with her bas-fonds criminal record writes so well can only mean she had a fairly good education. On the other hand, a letter as long as hers functions as a device for the author to enrich a whole installment of the serial while keeping the readers' curiosity in check. She can't confide in anyone and people don't really know what she's up to. She's also given quite a lot of license, even understanding, allowing her to be on her own. She is intriguing though. Surprised no one's been along to write her back story in same way as some of the Bronte's characters have had their stories told by later writers....Collins's social awareness is still at its most embrionary level in “The Moonstone”, at least in what concerns Rosanna Spearman. We know almost nothing about her, and I believe that was the author's express intention, so as to spread a cloud of mystery over the conditions of her birth and upbringing; the reader can only speculate about Rosanna's identity. It's easy to feel a certain empathy towards the character because of the misery she appears to exude, but let's not forget she seems well treated in the Verinder household, benefits from Betteredge's leniency and her mistress's protection. The fact that she's not popular among the rest of the staff has nothing to do with her origins or situation in life. To be honest there's not much with which to weave a social case out of her; unhappiness and unrequited love are not themes limited to class discrepancies and I really feel Collins's purpose was to make a sentimental point not a social one.
    • 5/5
      A typical Victorian novel's prose (and what rediculous comments on the passive, ineffective nature of women), but what a story! I realy got into all the twists and turns of the plot. Quite suspensful and well crafted. Collins was a master and I can see why the Victorians were as fond of him as of Dickens.
    • 2/5
      I'm a fast reader. I usually love everything, but this book took me FOREVER to read. Marian and Fosco were the only interesting characters of the bunch. And, listen, I guessed the mystery before the first section was over. I guess I just want to leave the mysteries to Sherlock Holmes.
    • 4/5
      This is a story of two half-sisters who are switched, one of them falling in love with the protagonist.A very confusing storyline. Definitely a thriller. Quirky characters.
    • 4/5
      The Woman in White was published in 1860 and is one of the first mystery novels. It's told by a variety of narrators according to who was actually involved in whatever part of the story. As is to be expected, some of them know more than others, and some are more reliable than others.The story centers around Laura Fairlie and her half-sister, Marian Halcombe. The first narrator, Walter Hartwright, is hired as their drawing master and in short order falls in love with the beautiful Laura. Alas, she is betrothed to another, the suspicious Sir Percival. Originally, the suspicions about Sir Percival come from the title woman, who Walter meets along a lonely road. It turns out that she had escaped from an asylum, but she insists she doesn't belong there.Of course, there are many twists and turns and connections and theories to be investigated when things all start going terribly wrong. The story being told by various people means the reader goes along for the ride, sometimes guessing where the path will lead, sometimes being led astray. I found it generally quite entertaining, although I found the last couple of sections the most difficult to get through. I guess that's just the nature of the beast - the fun is in the chase, not in the wrapping up.
    • 4/5
      I enjoyed this book once it got going. The situation seems so dark it is really interesting to find out how the author resolves it. On one level the ending seems a bit too pat but I can see how hard it would be to give Walter an active role in the demise of Fosco.
    • 5/5
      Where I got the book: public domain freebie on Kindle.This is one of those novels I've been promising myself I'd read for years. I was expecting a really creepy ghost story, but what I got surprised me. The plot: this is one of those Victorian novels told through a series of documents, with several narrators giving their accounts of the tale. Drawing teacher Walter Hartright has a nighttime encounter with a woman in white, and later learns that she has escaped from an asylum. By an amazing coincidence (in true Victorian fashion, the plot depends on many unlikely coincidences) he is summoned to the north of England to teach drawing to a young woman, Laura, who bears a striking resemblance to the woman in white and who is engaged to a much older man, Sir Percival Glyde. Laura and Walter fall in love, and Walter does the honorable thing and takes himself out of the picture as he is clearly too poor and socially inferior to marry an heiress. Walter's cause is espoused by Laura's half-sister, Marian Halcombe, who later joins Laura and her new husband as they set up house with creepy Italian Count Fosco, whose wife is Laura's aunt. The woman in white remains at large and continues to warn Walter (when he returns from the obligatory Dangerous Overseas Journey), Marian and Laura about Sir Percival's and the Count's evil intentions.Despite (or because of?) the inevitable Victorian tics of overly long descriptions, melodramatic touches and Amazing Coincidences, I found this to be a cracking good story. I was surprised to detect a feminist side to Collins; he is clearly sympathetic to the plight of the middle-to-upper-class Victorian woman, who either had to marry, often against her own inclination (Laura) or remain a spinster dependent on others for a home (Marian). I do wish, though, that Collins had not been quite so Victorian about the two women; he clearly portrays Laura as the only marriageable one of the two sisters because she is fair, delicate and doll-like where Marian is strong-featured (ugly, thinks Walter when he sees her) and strong-willed and therefore DOOMED to remain unmarried.Alas, Laura comes across as wishy-washy while Marian is a superb Victorian heroine: resourceful, intelligent, kind and generous. Even though she is ready to take action on Laura's behalf, though, Marian is true to her time in her belief that they can accomplish nothing without the support of a Man of pretty much any description. A bit frustrating for a modern female reader, but there it is. Collins does a much better job than his contemporary and friend Dickens of portraying the sad truth of the female condition; I can't help feeling that (unlike Dickens, who is a thoroughgoing misogynist at heart), Collins really likes women and is keen to portray them well. With the exception of the Count (whose real gloriousness as a villain is, intriguingly, seen mostly through Marian's eyes) the really interesting people in this novel are the women. I found The Woman in White to be quite a page-turner by the end, with reasonably intricate plotting that never became too convoluted to follow. I'm glad I read it, and wonder why I waited so long.
    • 5/5
      This is such AWESOME book! This was such a well written book, very understandable, and also very mysterious. I felt like I was being led through a labrynth, and there was always something popping out around each blind turn. If only mysteries no days were always so well crafted! Definetly a MUST READ!

    • 5/5
      Good grief, this book took forever to read. Thank goodness it was well worth it! An excellent Victorian mystery; well-crafted and beautifully written.
    • 5/5
      This book was laborious. There were moments when I would have believed the damn thing was continuing to add pages to itself as I read it. The book switches POVs throughout, and that helps - I can't imagine it told from a single POV - but I still struggled to pick it back up. I found the characters in the first epoch exasperating; Walter Hartwright was just so hopelessly romantic. And by romantic I mean a melodramatic Byron wannabe. Laura, the character the whole story revolves around, actually left very little impression on me at all, and her sister Marion, of whom I expected strong, rational sense from, let me down when the story's POV switched to hers. The second epoch was the worst for me though. Marion becomes more the character I expected her to be and I really liked her, and Hartwright was thankfully absent, but the second epoch was all about winding up the tension; subtle, brilliantly done foreshadowing and a slow build up to the inevitable Terrible Event. Most people relish this part of the story – that sense of dread anticipation. I am not most people. The second epoch nearly killed me: I could recognise the brilliance of the writing and story telling but at the same time, just get it over with already! I had prepared myself for Percival being a nasty piece of work; the more obsequious he became in the first epoch, the more obvious it was to me that he was going to be an ass. Fosco though, Fosco was truly the villain in this tale. The more he smiled and sided with the women, the diabolical he became. This was the part I had to make myself read. The third and final epoch was for me the best one because now things were getting done. The climax of the story, the biggest plot twist (which I did guess before it was revealed) is over with and the third epoch is about fixing things; making the villains pay by searching out and revealing their secrets. Hartwright's time away did him good and he's not nearly the twit he was in the first epoch; he becomes a believable hero. Laura just got on my nerves; her special snowflake status from the start makes it hard to properly sympathise with her for her truly horrible experiences in epoch two. Percival's comeuppance was all about the chase; lots of action, and a secret that when revealed didn't sound like it was worth all his efforts at concealment until the author makes us aware that at the time it was a capital crime. His final confrontation was excellent though; I didn't see that coming. But Fosco, Fosco is revealed to be the true threat, the real evil genius. If Doyle's Moriarty wasn't strongly influenced by Collins' Fosco I'll eat my socks. At the same time, I got the strong sense that Collins had the most fun in creating Fosco; I'd dearly love to know how much of himself he put into his mad creation. Fosco's character was just so different in every way to all the others that by the end it felt like the rest of the story was created merely to give Fosco reason for existing. Both final acts failed to surprise me: too much attention was made of the scarred man for him to be background, and no way could any author from this time period walk away from a fortune and a title, even on behalf of their characters. but it was a satisfying ending nonetheless. A brilliant read that I'd recommend to anyone interested in a good story. So many of the tropes and plot devices used today came from authors like Collins and it's worth reading if only to see them done by a master. But it's definitely not a quick read.
    • 4/5
      This is a book that, with its mystery and eeriness, grabs your attention from the first chapter. A young drawing teacher, Walter Hartright, takes up a new position in Cumberland, and soon falls in love with his student, the lovely Laura Fairlie. But although she reciprocates his love, she is already promised to a baronet with designs upon her fortune. Sir Percival Glyde is not the only threat to Laura’s happiness and sanity; his alarming associate, Count Fosco, adds further complications to a sinister and intricate plot.
    • 5/5
      I wanted to read this book because it is credited with being one of the first detective/mystery novels in literature. I am not disappointed. Collins writes very well - in many ways much more accessibly than does his contemporary, Charles Dickens (who happens to be one of my favorite authors). Collins tells the story in a very novel way, as a series of "depositions" and journals that describe events from several different perspectives. That, in itself, was most interesting.The story is essentially the typical 18th - 19th Century romance - nice young lady falls in love with one man, but is promised to another, which other happens to be a nasty person. Ah, but loves conquers all, in the end.The only unfortunate thing about the book is Collins' willingness to succumb to the contrivances of his era - he may have begun a welcome branch of literature, but he could have breathed more soul into literature as a whole had he tried deviating from the felt need to make all of the good people happy in the end.
    • 4/5
      I started reading this and then switched to the audio version from Librivox. I enjoyed the story quite a bit and was curious to know what "really happened", but I found the structure of the story to be stifling at times. It seemed so legalistic (which, in a way it was) that it interfered with the flow of the story - though I did enjoy the different viewpoints. Overall, enjoyable.
    • 4/5
      I have been wanting to read this book for a long time, but due to its long length and tiny font (on my copy), I kept on putting it off. I finished this book last night. What a fantastic story! A well-spun mystery with complex characters and plot. If you enjoy reading books like Rebecca, Jane Eyre, or The Thirteenth Tale, then you will love this book.
    • 5/5
      Dickens with more mystery & wit. Actually quite thrilling in some parts. One of the first mystery novels ever written. Highly recommended.
    • 2/5
      In the 1800s, this was probably revolutionary. To a 21st century reader, the tropes are too familiar and the story isn't particularly engaging. There are other, better classics out there.

    Book preview

    The Woman in White - Wilkie Collins

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