Pandemic Consciousness and Narrative Perspective in Sheri Holman’s The Dress Lodger

Sheri Holman’s neo-Victorian novel The Dress Lodger (1999 ) depicts the beginning of the 1831 cholera epidemic in Britain. The novel skilfully manipulates the conventions of nineteenth-century realism and neo-Victorian fiction to test the limits of readerly empathy and its foundations in the conception of the liberal subject as disembodied and disinterested. Although the novel seems ‘faux-Victorian’ and apparently encourages immersion in the story and identification with the central characters, metaphorical uses of language and shifting points of view disrupt such comfortable ways of reading, challenging the readers’ tendency to derive pleasure from representations of working-class suffering. Through complex characterisation of the protagonists, the factory and sex worker Gustine and the doctor Henry Chiver, the narrative exposes the violence of representation through parallels with medical discourse. This essay argues that Holman’s experimentation with narrative strategies ultimately suggests the need for a pandemic consciousness that transcends the clashing responses to the cholera epidemic and cultivates an awareness of global interdependence. The possibility of such pandemic consciousness is conveyed through ‘the Great Narration’ by the novel’s unconventional intradiegetic narrator, the working-class Dead, whose bodies were stolen by doctors for the purposes of dissection.