Author Description

Cover -- Charles Dickens And The Properties Of Fiction: The Lodger World -- Copyright -- Dedication -- Acknowledgements -- Contents -- List Of Illustarions -- Epigraph -- Introduction -- Pheasants In The Garret, Owls In The Bedroom: Dickens And Domestic Ideology -- Adventures Of A Gentleman In Search Of A Home: The Nineteenth-century Property Market -- The 'ecstatic Restlessness' Of Dickens And His Circle -- The Plural Fiction': Space, Narrative, And Play In The Nineteenth-century Novel -- A Ground Plan For Charles Dickens And The Properties Of Fiction 1: Building A Career: From Sketches To Dombey -- 'to Be Serious About A Farce!': Lodgings On The Comic Stage -- 'the Still Life Of The Street': London, Lodging, And The Attraction Of Repulsion -- 'i'm A Slave To First Impressions': Lodging And The Construction Of Urban Characters -- 'what A Foolish Creature I Must Seem To You': The Figure Of The Landlady -- 'the Landlady Is Not Literary': Models Of Authorship And Readership -- 2: 'to Let To Let To Let': The Bildungsroman And The Spatial Imagination -- 'learning To Make Houses': The Micawbers, Mrs Crupp, And Mrs Whimple 'beginning In Boxes': Rites Of Passage -- 'drawd Too Architectooralooral': The Bildungsroman And The Turn To Metaphor -- 'no Man Knew What A Window Was': The Changing Nature Of The Threshold -- 3: 'the Property Of 1851': The Great Exhibition And The Business Of Hospitality -- Prince Albert, Henry Roberts, And The Model Houses For Families -- 'the Beds Here Are Quite Full': The Exhibition And The Hospitality Industry -- From Hyde Park To Leicester Square: London In 1851 -- 'the Receptacle Of The Denizens Of All Nations': The Boarding House And The World -- Interlude: Londoners Maritimized Money -- Love -- Death -- 4: 'is This An Hotel? Are There Thieves In The House?': The Spatial Contexts Of Crime -- 'where Vice Is Closely Packed And Lacks The Room To Turn': Low Lodging Houses In The 1850s -- The Detective And The Philosophies Of Furniture -- 'endless I