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At the time of Dickens' sudden death in 1870, he had completed six of the 12 monthly installments of Edwin Drood. Anxious readers on both sides of the Atlantic were stranded with what Don Richard Cox calls, the most popular unfinished novel ever written. Speculation about the book's conclusion soon began and, as the years have passed, literally scores of authors have tried their hands at completing the story, writing their own sequels, conclusions, parodies and alternative endings. There have been dozens of stage, radio, film and television versions as well. Mock trials have sought a legal solution to the puzzle, and even spiritualists have tried to contact the ghost of Dickens, hoping to discover what the author's plans really were.
In a radical reassessment of one of the greatest writers of all time, Dickens, Violence and the Modern State draws on the theories of Foucault, Deleuze and Guattari, in addition to Julia Kristeva and Edward Said, to situate Dickens within the discourses circulating within his society - in particular those associated with modernity. Focussing on Dickens's novels written after 1848, his relationship to modernity can be seen in his treatment of violence, seen in two forms in his writing: that of the state (in the rationalising powers of Victorian bourgeois modernisation), and physical violence, as portrayed in Dickens's criminals and interest in masochism and corpses.