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31:1, Book Reviews for a complete edition of Gissing's works. Coustillas himself concludes that we should finally remove Henry Maitland's veil of fiction—transparent since its first publication in 1912, restore the primary texts of correspondence that Roberts altered, and republish it now as TAe Private Life of George Gissing. The essay thus brilliantly illustrates the recent distinction (Adena Rosmarin ' s) between the text, one artifact, and the work, the "aura" of a text as it develops different associations, audiences, and meanings through time. Many of us who are deeply grateful for Gissing's work can second Coustillas's recommendation and hope that he will reprint this essay as introduction to the "new" biography. So as in the period itself, there is something for everyone in Twilight of Dawn—for more speculative readers to consume and rearticulate and conservative critics to accumulate and evaluate. For "mere" appreciators—which I assume includes most of us— there are the quotations themselves, from Symons's thumping description of Casanova as "that rarest kind of autobiographer, one who did not live to write, but wrote because he had lived, and when he could live no longer" (155) to his equally definitive image of Casanova's opposite, J-K Huysmans, "leaning back on the sofa, rolling a cigarette between his thin, expressive fingers, looking at no one, and at nothing" (160). I conclude with the Golden Boy's heterogeneous (loonily synaesthetic) description of "the floating call of the cuckoo" as "soft little globes of bosom-shaped sound" (177). Regenia Gagnier Stanford University HARDY ANNUAL 5 Norman Page, ed. Thomas Hardy Annual No. 5. London: Macmillan, 1987. $55.00 Five years ago, in setting forth his editorial policy in the first number of the Thomas Hardy Annual, Norman Page wrote that the new journal would be "hospitable to a wide variety of approaches to Hardy and to contributions ranging from notes and queries, reviews and short articles, to substantial essays and even monographs." Page went on to express the hope that the Annual would be international in scope and would make available "some of the best of the current scholarship and criticism devoted to Hardy." A half-decade seems a fair interval for a periodical to implement its editorial policies and Thomas Hardy Annual No. 5 confirms once again that Page and Macmillan have succeeded admirably in their stated aims. Consider first the criterion of international inclusiveness. Of the approximately sixty contributions to have appeared between 1982 and 1987, one half have come from scholars in the British Isles, another twenty from American and Canadian scholars, and the remaining ten or so from scholars in countries as remote from each other as 87 31:1, Book Reviews Kuwait and Sweden, France and N. S. Wales. Universities represented include many of the most prestigious institutions in the English-speaking world, and the list of contributing scholars reads like a directory of the leading Hardy scholars of the last several decades. To make the point, I mention scholars of such stature as John Bayley, Ian Gregor, Dale Kramer, Harold Orel, P. N. Furbank, F. B. Pinion and, of course, editor Norman Page himself. Scholars of such eminence have, as Page had hoped, provided readers with "some of the best scholarship and criticism" available on Hardy today. Of the twenty-three articles and essays listed under "Critical Studies of Hardy's Fiction and General Essays and Articles" for 1985 (see Richard H. Taylor's "A Hardy Bibliography " in No. 5), no fewer than seven were published in the Annual. Again, as promised by the editor, all five numbers of the Annual have been "hospitable to a wide variety of approaches" and scholarly interests. Thomas Hardy Annual No. 5, for example, includes major articles on the mixing of genres and narrative modes in The Woodlanders (John Bayley), on textual problems confronting the editor of a Hardy text (Dale Kramer), and on the varieties and functions of "historians" in a Hardy novel (Samuel Hynes). In addition, there are articles of varying length on such diverse topics as Shelleyan echoes in The Woodlanders, styles of love in Far From the Madding Crowd, John Schlesinger 's film adaptation of the...

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