Since John Fowles's THE FRENCH LIEUTENANT'S WOMEN three decades ago many British novelists have tried to recapture the style and feel of the great pageturners from the novel's heyday, the Victorian era, often with mixed results. Sarah Waters, like Charles Palliser, has carved out a career for herself almost wholly in this subgenre, and succeeds even more brilliantly than Palliser. Her latest novel, FINGERSMITH, beautifully recaptures the can't-put-it-down excitement of her literary forerunner Wilkie Collins, and narrates the story of a group of thieves who engineer a cruel plot to commit an heiress to a madhouse with real aplomb and skill. But the novel is even better than that: it brings out into the open social and cultural concerns Collins or Dickens could not have spoken about quite so directly (particularly pornography and same-sex eroticism), and shows great insight into the metafictional issues involved in reworking this subgenre of the sensation novel. I recommend this extremely highly.