BIBLIOGRAPHICAL NOTES 213Marcus, “Who Is Fagin?” in Dickens from Pickwick to Dombey, 358–78; Albert D.
Hutter, “Reconstructive Autobiography: The Experience at Warren’s Blacking,”
Dickens Studies Annual 6 (1977) 1–14; and Robert Newsom, “The Hero’s Shame,”
Dickens Studies Annual 11 (1983): 1–24. In Primal Scenes: Literature, Philosophy, Psycho-
analysis (Ithaca: Cornell University Press, 1986), Ned Lukacher describes Dickensian
remembering as unrelentingly traumatic, and imagines a kind of inner streetscape
marked No Thoroughfare as the essential primal scene of an obsessed and increas-
ingly tortured artist (290–330).
For more skeptical approaches to the fragment, see Alexander Welsh, From Copy-
right to Copperfield, 1–8 and 156–62, and Nina Auerbach, “Performing Suffering:
From Dickens to David,” Browning Institute Studies 18 (1990): 15–22. Auerbach reads
the fragment as a grandiose self-performance that was diminished in David Cop-
perfield to the story of a boy who wants maternal love and recognition. For Dickens’s
Warren poem, see John Drew, Dickens the Journalist (New York: Palgrave Macmillan,
2003), 15–20, and “A Twist in the Tale,” The Guardian Review, 1 November 2003, 34.
Michael Slater tells the story of Maria Beadnell Winter in chapter 4 of Dickens and
Women. A compatible reading of Dickens’s letters to Maria Winter may be found in
Margaret Flanders Darby, “Dickens and Women’s Stories,” Part Two, Dickens Quar-
terly 17.3 (2000): 127–38.
The best first resort for work on nineteenth-century views of memory and the
unconscious is Jenny Bourne Taylor and Sally Shuttleworth, eds., Embodied Selves:
An Anthology of Psychological Texts, 1830–1890 (Oxford: Clarendon Press, 1998).
Section Two, “The Unconscious Mind and the Workings of Memory,” includes
excerpts from discussions of conscious and unconscious memory as well as “dou-
ble consciousness.” I have also learned (and quoted) from Jenny Bourne Taylor’s
essay “Nobody’s Secret: Illegitimate Inheritance and the Uncertainties of Memory,”
Nineteenth-Century Contexts 21 (2000): 565–92. Taylor gives an overview of Victo-
rian ideas about the unconscious mind in “Obscure Recesses: Locating the Victorian
Unconscious.” This essay includes a detailed study of Smike’s memory disturbances
in Nicholas Nickleby. Michael S. Kearns discusses Dickens’s knowledge and use of
the theory of association in “Associationism, the Heart, and the Life of the Mind
in Dickens’s Novels,” Dickens Studies Annual 15 (1986): 111–44. From my general
background reading for this chapter I would single out Daniel L. Schacter, Searching
for Memory: The Brain, the Mind, and the Past (New York: Basic Books, 1996), and Ian
Hacking, Rewriting the Soul: Multiple Personality and the Sciences of Memory (Princeton:
Princeton University Press, 1995).
My references to current theories of trauma draw on these works: Cathy Caruth,
Unclaimed Experience: Trauma, Narrative, History (Baltimore: Johns Hopkins University
Press, 1996); Daniel Albright, “Literary and Psychological Models of the Self,” in
The Remembering Self: Construction and Accuracy in the Self-Narrative, ed. Ulric Neisser
and Robyn Firush (Cambridge: Cambridge University Press, 1994), 19–40; and
Bessel A. Van der Kolk and Onno Van der Hart, “The Intrusive Past: The Flexibility
of Memory and the Engraving of Trauma,” in Trauma: Explorations in Memory, ed.
Cathy Caruth (Baltimore: Johns Hopkins University Press, 1995), 158–82.
Malcolm Andrews’s Dickens and the Grown-up Child (Iowa City: University of Iowa
Press, 1994) does not argue that Dickens was a grown-up child; instead Andrews does
the important work of situating a range of Dickens’s ideas about the child-as-adult