Maria K. Bachman is an Associate Professor of
English at Coastal Carolina University.
Don Richard Cox is a Professor of English at the University of Tennessee. They are the editors of the Broadview edition of Wilkie Collins's Blind Love (2003).
Playwright and audio dramatist Beverley Cooper has done a masterful job in adapting Collins's classic Victorian suspense novel to the audio medium. Within the framing story of a courtroom setting, each character stands up to describe the events that he or she has witnessed; the words of testimony then fade into a flashback scene, so the listener can experience the story as it unfolds. The actors are simply marvelous, particularly Douglas Campbell as the oily, sinister Count Fosco and Cedric Smith as Lord Percival Glyde, the manipulative gold digger with secrets to hide. Suzanne Hoffman sounds appropriately sweet and lovely as Laura, the damsel in distress, and Gina Wilkinson gives a nice contrasting performance as her practical, intelligent and down-to-earth sister, Marian. The story is well paced and suspenseful, while background music adds a subtly ominous atmosphere without distracting from the tale. Likewise, the production uses just the right amount of sound effects. With its colorful characters and air of mystery, this superb dramatization truly does the tale justice. (Dec.) Copyright 2006 Reed Business Information.
This is an excellent edition of The Woman in White. It has
been prepared with great thoroughness by two editors well versed in
Collins studies and give the earliest published version of
Collins's text. It provides a lengthy introduction covering most of
the important issues raised by the novel. The annotations have been
carefully researched and the various appendices succeed in
furnishing the reader with exactly the right sort of contextual and
background matter to give a better understanding of the story." -
Andrew Gasson, Chairman, Wilkie Collins Society
"To convey the sensationalism of The Woman in White, Bachman and Cox wisely choose the original, serialized version as their copy text. A thoughtful introduction places the novel in context, explaining its importance to sensation fiction, outlining its concern with the problem of identity and with constructions of madness, and discussing its narrative structure as well as its later stage adaptation. The appendices are especially useful, with their material on Victorian gender ideologies and Victorian psychology, including letters, articles, and reports illuminating the 'panic' over false incarceration for insanity." - Lillian Nayder, Bates College