Mr. Cosway and the Landlady ('Your Money or Your Life')
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Wilkie Collins
Wilkie Collins, hijo del paisajista William Collins, nació en Londres en 1824. Fue aprendiz en una compañía de comercio de té, estudió Derecho, hizo sus pinitos como pintor y actor, y antes de conocer a Charles Dickens en 1851, había publicado ya una biografía de su padre, Memoirs of the Life of William Collins, Esq., R. A. (1848), una novela histórica, Antonina (1850), y un libro de viajes, Rambles Beyond Railways (1851). Pero el encuentro con Dickens fue decisivo para la trayectoria literaria de ambos. Basil (ALBA CLÁSICA núm. VI; ALBA MÍNUS núm.) inició en 1852 una serie de novelas «sensacionales», llenas de misterio y violencia pero siempre dentro de un entorno de clase media, que, con su técnica brillante y su compleja estructura, sentaron las bases del moderno relato detectivesco y obtuvieron en seguida una gran repercusión: La dama de blanco (1860), Armadale (1862) o La Piedra Lunar (1868) fueron tan aplaudidas como imitadas. Sin nombre (1862; ALBA CLÁSICA núm. XVII; ALBA CLÁSICA MAIOR núm. XI) y Marido y mujer (1870; ALBA CLÁSICA MAIOR núm. XVI; ALBA MÍNUS núm.), también de este período, están escritas sin embargo con otras pautas, y sus heroínas son mujeres dramáticamente condicionadas por una arbitraria, aunque real, situación legal. En la década de 1870, Collins ensayó temas y formas nuevos: La pobre señorita Finch (1871-1872; ALBA CLÁSICA núm. XXVI; ALBA MÍNUS núm 5.) es un buen ejemplo de esta época. El novelista murió en Londres en 1889, después de una larga carrera de éxitos.
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Mr. Cosway and the Landlady ('Your Money or Your Life') - Wilkie Collins
MR. COSWAY AND THE LANDLADY
(‘Your Money or Your Life’)
BY
WILKIE COLLINS
Copyright © 2013 Read Books Ltd.
This book is copyright and may not be
reproduced or copied in any way without
the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Wilkie Collins
William Wilkie Collins was born in Marylebone, London in 1824. His family enrolled him at the Maida Hill Academy in 1835, but then took him to France and Italy with them between 1836 and 1838. Collins later recalled that in Italy he learned more which has been of use to me, among the scenery, the pictures, and the people, than I ever learned at school.
Returning to England, Collins attended Cole’s boarding school, and completed his education in 1841, after which he was apprenticed to the tea merchants Antrobus & Co. in the Strand.
In 1846, Collins became a law student at Lincoln’s Inn, and was called to the bar in 1851, although he never practiced. It was in 1848, a year after the death of his father, that he published his first book, The Memoirs of the Life of William Collins, Esq., R.A., to good reviews. This was followed by an historical novel, Antonina (1850) and three contemporary novels, Basil (1852), Hide and Seek (1854) and The Dead Secret (1857). During the 1850s, however, Collins’ main source of income came through journalism. Primarily, he wrote for Household Words, a publication owned and ran by Charles Dickens, with whom Collins had a close friendship. It was also during this decade that Collins began to take large amounts of opium to combat ‘rheumatic gout’, a form of arthritis he suffered from.
The 1860s saw Collins’ creative high-point, and it was during this decade that he achieved fame and critical acclaim, with his four major novels, The Woman in White (1860), No Name (1862), Armadale (1866) and The Moonstone (1868). These were all hugely popular; The Woman in White, for example, ran to seven editions in the first year of publication, and is now regarded as the archetypal sensation novel. The Moonstone, meanwhile is seen by many as the first true detective novel – T. S. Eliot called it the first, the longest, and the best of modern English detective novels...in a genre invented by Collins and not by Poe.
During the last two decades of his life, Collins’ popularity waned. This was due in part to the death of Dickens, and in part to his increasing dependence on opium. It also had a lot to do with his stylistic shift away from the sensational thrillers that his made his name onto works more centred