Mary Barton, particularly in its early chapters, is a moving response to the suffering of the industrial worker in the England of the 1840s. What is most impressive about the book is the intense and painstaking effort made by the author, Elizabeth Gaskell, to convey the experience of everyday life in working-class homes. Her method is partly documentary in nature: the novel includes such features as a carefully annotated reproduction of dialect, the exact details of food prices in an account of a tea party , an itemized description of the furniture of the Bartons living room, and atranscription made especially for use in radio broadcasting) of the ballad The Oldham Weaver. The interest of this record is considerable, even though the method has a slightly distancing effect.
As a member of the middle class, Gaskell could hardly help approaching working-class life as an outside observer and a reporter, and the reader of the novel is always conscious of this fact. But there is genuine imaginative re-creation in her accounts of the walk in Green Heys Fields, of tea at the Bartons house, and of John Barton and his friends discovery of the starving family in the cellar in the chapter Poverty and Death. Indeed, for a similarly convincing re-creation of such families emotions and responses , the English novel had to wait 60 years for the early writing of D. H. Lawrence. If Gaskell never quite conveys the sense of full participation that would completely authenticate this aspect ofMary Barton, she still brings to these scenes an intuitive recognition of feelings that has its own sufficient conviction.
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