|Alderson, Brian. “Introduction” to Charles Kingsley,
Water-Babies (Oxford: Oxford University Press, 1995): ix-xxix.
In his introduction to a 1995 edition of The Water-Babies Alderson
discusses the story's first publication as a serial in Macmillan's Magazine,
the subsequent revision of the text for its appearance in book format in
May 1863, and the contemporary market for children's literature. After
a lengthy analysis of The Water-Babies, Alderson treats some of
the critical reaction to it. He concludes with a discussion of the importance
of Kingsley's authorial presence in the novel.
Magazine; Reception of Kingsley's Works.
Sutherland, J. A. “Westward Ho! ‘A Popularly
Successful Book’” in his Victorian Novelists and Publishers (Chicago:
University of Chicago Press, 1976): 117-132.
Sutherland discusses the publication process of Westward Ho! and
Kingsley’s relationship with its publisher Macmillan's. “The result
of the collaboration was one of the most remarkable bestsellers of the
century” (122). Though the novel, according to Sutherland, benefited
from the moderating influence of the publisher, many readers were disturbed
by certain elements, above all its pathology and violence.
Uffelman, Larry K. “Kingsley’s Hereward the
Wake: From Serial to Book,” Victorians Institute Journal Vol.
14 (1986): 147-156.
Kingsley, according to Uffelman, very carefully revised the text of
his last novel in its original serial form for its publication as a book.
Published first in the Protestant journal Good Words, Hereward displays
throughout Kingsley’s hatred for effete, feminine monasticism and by extension
Roman Catholicism. However, Uffelman shows that Kingsley as he made
revisions for publishing the novel in book form toned down some of his
more venomous passages “tempering his story to fit a different medium and
to appeal to the taste of a more liberal publisher," Macmillan (155).
the Wake; Macmillan's; Catholicism;
Uffelman, Larry K., and P. G. Scott, “Kingsley's
Serial Novels: Yeast,” Victorian Periodicals Newsletter Vol.
IX, No. 4 (December 1976): 111-119.
Uffelman and Scott discuss the early publication history of Yeast
which first appeared anonymously in six monthly installments in Fraser’s
Magazine from July to December 1848 and which was later republished
in volume format in 1851. They pay particular attention to the revisions
Kingsley made in the volume text. In addition to tempering many phrases
which might have upset orthodox religious sensibilities, Kingsley also
added much anti-Catholic material in the 1851 book, especially in the sub-plot
concerning Luke, the Tractarian curate and Lancelot’s cousin. The
other major revision involved expanding the ‘discussion’ element in the
last part of the novel where Lancelot meets the prophet Barnakill.
This tilts “the balance of the novel towards the question of religious
belief” ( 117). With respect to the diverse revisions Uffelman and
Scott declare that “The new and topical sub-plot devoted to Luke’s conversion
to Catholicism made the novel more abstract and theological, as did also
the expanded conversation with the prophet in the last chapter. The
minor revisions, however, suggest an interesting slight softening in Kingsley’s
attitudes to more orthodox religious earnestness, and show also that Kingsley
himself had become aware of some of the unevenness of plot and tone which
serial composition had encouraged in his first novel” (118-119).
Uffelman, Larry, and Patrick Scott. “Kingsley's
Serial Novels, II: The Water-Babies,” Victorian Periodicals Review
Vol. XIX, No. 4 (Winter 1986): 122-131.
Uffelman and Scott, utilizing the Macmillan archive in the British
Library, examine the revision into book form of The Water-Babies,
first published serially from August 1862 to March 1863 in eight monthly
episodes in Macmillan’s Magazine. The revisions were extensive
and included a softening of style and mood from the adult oriented text
in Macmillan’s Magazine to one more suitable for children, a tempering
of the serial version’s anti-Americanism, and, most important, “the systematic
introduction of a new character, the old Irishwoman, to link together the
real world of the opening with the spiritual and fantasy world of the Water-Babies”