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“Learn to read and write, learn all you can, learn cunning, spare nobody and stop at nothing. … Do your devilmost … for the Jago’s got you!” Dicky Perrott, growing up in the notoriously criminal enclave of the Jago, listens and learns. Compelled by his family’s circumstances to provide for his mother and siblings, he sharpens his skills as a boy thief. Along the way, he navigates the Jago’s topsy-turvy ethics, vacillating between the rival messages of his mentors, a devious local fence and a righteous slum priest. Relentless in its bleakness and violence, A Child of the Jago captures the desperate struggle for survival in 1890s East London. This Broadview Edition provides the literary, socio-historical, and philosophical contexts vital to readers’ understanding and appreciation of the novel. Historical appendices include materials on eugenics, hooliganism, women’s sweated labor, cultural philanthropy, and the debate over the novel’s accuracy.
Who was Mary De Morgan and why should she be dragged out of the shadows cast by her illustrious parents, her male siblings and the members of the Arts and Crafts circle in which she moved? Why should the academic spotlight be shone onto her life and works? De Morgan (1850–1907) was undoubtedly a woman of her time: she was unmarried and therefore one of the million or so “odd” women who had to earn their own living, which she did mainly by writing. She was one of the many who took part in the great effort to “improve” the lives of the poor in the East End of London; she was caught up in the spiritualist phenomena, not only because her mother was an ardent supporter and practitioner, but also because De Morgan herself was considered to be a “seer”; she, like many Victorians, suffered from the curse of tuberculosis but despite going to live in Egypt for health reasons, she then became the directress of a girls’ reformatory until her death. Through the analysis of her fairy tales, her sole novel, her non-fictional articles and her unpublished short stories, De Morgan is revealed to be an early feminist and “New Woman,” an advocate of William Morris’s philosophies and a social reformer, but also a rather disappointed and disillusioned woman. Letters to and from her family and friends paint a colourful picture of family life during the second half of the nineteenth century, and extracts from well-known people’s biographies, reminiscences and diaries flesh out De Morgan’s character and help explain why George Bernard Shaw considered her to be a “devil incarnate.”