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Penguin Classics Mill On The Floss

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This is Eliot's somewhat autobiographical novel, and tells the story of Maggie Tulliver and her brother Tom. The story takes place in the village of St. Ogg, and at the Mill on The Floss that's been in the Tulliver family for generations. I thoroughly enjoyed the way Eliot depicted the sibling relationship between Maggie and Tom with all of those ups and downs that we all have experienced with our siblings, and culminating in the final finish of the story that thoroughly blew me away. I think I just sat for a good ten minutes just saying Oh Wow over and over again, and then felt the need to seek out my brothers and give them both a big hug.

The joy of reading this novel or any other by Eliot is her gorgeous prose and brilliant characterizations, even with the minor characters. Just be warned, this is not an action packed, sit on the edge of your seat, can't put it down until it's finished type of novel. This is a story to savor and enjoy the multi-faceted characters and the author's glorious prose like a fine red wine or a box of chocolates (or both). If you are looking for high action and adventure, this is not the book for you. Highly recommended for any lover of 19th century English literature, not as dark and brooding as Hardy can be, but the prose is just as lovely, if not better.

_The Mill on the Floss_ (1860) was George Eliot's third published book (after Scenes from Clerical Life and Adam Bede)and tells the story of Maggie and Tom Tulliver, two children who grow up in the middle-class rural community of St. Ogg's.

It's been a while since I've read Mill on the Floss, I think that the last time I did I was in my early 20s, just graduated from school. I got a lot more out of the read this time, I think it's probably a book that profits both with re-reading and age. The first time I read it I identified so strongly with Maggie that I practically skipped over everything dealing with the other characters. I found Tom loathesome and the ending of the book appalling.

As a slightly more adult human, I was able to read it for more than just Maggie's story and enjoy it even more. I was surprised by how compulsively I read it. I'd had every intention of stretching it out over several days, but I literally found that I couldn't stop reading it and carried it with me from room to room in the house. I was able to laugh more at Eliot's sly humor and more able to see people like the Gleggs as people and not simply stock appendages of the story.

I think what makes Mill On the Floss such a powerful book (aside from the writing style, which is excellent) is this notion of the divided self which is being worked out both through Tom and Maggie. Tom has a firm clear sense of right and wrong and is always being forced to question or do injury to that sense because of his very difficult sister. On the other hand, Maggie can't seem to find the right balance between self-indulgence and renunciation. She can't ever manage a way to negotiate between the sharp emotions that she feels and her desire not to inflict the consequences of those emotions on her family and friends. It's a tragedy that neither of them ever really manage to understand each other and are constantly hurting and being hurt in their drive to do the right thing and be who they really are.

Interesting how Eliot plays with the tropes from all the popular women's sentimental novels of the time. A young girl who's unattractive because she's dark-haired overcomes poverty and goes on to attract the eye of the most fastidious and eligible man in town... However, in the world of St. Ogg's (unlike the novels of the sentimental sisters like Mary Jane Holmes) Maggie is unable to overcome her obstacles to happiness and is as trapped by her beauty and popularity as she was her unattractive hoyden girlhood. Given the position of women at the time and the strength of the social norms, it's unfortunately a much more believable view of the outcomes of things.

If you haven't read Eliot, I'd agree that it isn't her best book (that's still Middlemarch, for me, and I would begin there first) but it's hugely thought-provoking and honest. It should make many a young woman of today count their blessings and thank the stars that the world has changed since the time Maggie Tulliver was a girl.

*NOTE* This review may contain spoilers at the end.
The Mill on the Floss is one of those rare, rare gems that haunts you long after your finished. I read it this past summer, and am still dwelling upon it.
Many people read this book as a novel, and it is- in a way. The story is of Maggie Tulliver from her childhood to her adulthood, and the events of her family.
But more importantly, this work is one of the clearest insights into human nature I have ever read. Elliot creates numerous characters, yet these characters are not flat, but filled with depth. Throughout the pages, Elliot truly reveals their souls- their intents, thoughts, desires, etc. and you will be surprised (and maybe a little convicted) to see yourself mirrored in them. So many aspects of the soul are revealed here- our true motives, how we deceive ourselves, how we truly feel. She completely bares these people- her people, with all their faults, trivialities, and loves. It is an over-powering work of brilliance, and one that I am proud to have on my shelf.
The ending, I feel, is appropriate. No other ending could have been written- this ending is the true consequence to the passions and drives of Maggie's heart, as well as Tom's. It was fitting, and it leaves you wondering if it was possible for Maggie to change her nature, wrong though it was. Highly recommended.

There is nothing like an obtuse, clotted introduction to impede a good book. For George Eliot's "The Mill on the Floss," The introduction contributes nearly 50 pages of dense literary criticism that numbs the head, darkens the spirit, and creates grave doubts that this book is worth reading for anyone with less than a doctorate in English literature. There is nothing better than reading a good novel. Likewise, there is nothing worse than reading literary criticism that employs the obscurantist principles of the type that infect this introduction. After threading a path through these paragraphs that loom like mountains of iron, it is presumed one is ready to embark on Eliot's novel.

George Eliot, a.k.a Mary Ann Evans, wrote several novels in the mid 19th century. "The Mill on the Floss," written in 1859-60, is not considered one of her better novels. That distinction falls to "Middlemarch," a book that is often referred to as "the best English language novel ever written." Others compare Eliot to Dickens, with the astute observation that Eliot's prose is loftier and her plots are composed with a greater intellectual ability. Wherever your preferences may lie in regards to 19th century English literature, Eliot's novels will find their way to your bookshelf. She's an important enough figure in the English literary canon that an opinion on her writings is an absolute necessity.

Eliot's writing is a large tapestry woven with biblical, classical, and English literary threads, as paragraph after paragraph, page after page, unfurls into a beautifully formed whole. Characters and atmosphere are masterfully etched in ink and paper as Eliot constructs a story exposing the contradictions and capriciousness of English provincial life in the 19th century. The ornate prose and intellectual brilliance found here can quickly overwhelm the literary novice. This is not a book for speed-reading or a quick weekend read. Passages must be reread and thought about in order to draw out Eliot's intentions.

"The Mill on the Floss" tells the story of two families, the Tullivers and the Dodsons, with special emphasis on Maggie and Tom Tulliver. The story covers over a decade of trials and tribulations within these two families, from the bucolic innocence of childhood on the banks of the Floss, to the bankruptcy of the Tulliver family and their subsequent exile from the family home of Dorlcote Mill. Roughly the last half of the book examines the travails of Maggie, as she falls in love with Phillip Wakem, the hunchbacked son of the lawyer who brought about the ruin of the Tullivers. Maggie's intentions with the enemy bring on the wrath of brother Tom, who has sworn to his father to oppose the Wakems with every ounce of his strength. When Stephen Guest (the beau of Maggie's cousin Lucy) suddenly woos Maggie, the connections become even more tangled (Guest is such an annoying addition to the story that Penguin saw fit to include an essay at the end of the book entitled, "The Placing of Stephen Guest," in an attempt to justify his presence.). Tom and Maggie reconcile in an ending that is both redemptive and poignant.

A surprising element of the novel is its humor. It is not the staccato, rim shot humor one finds in America, but a slow, ingratiating British wit that builds over the course of dozens of pages. This humor is most apparent early in the story, when characters are introduced and Eliot examines the troubles of childhood. By the time things begin to decline for the Tullivers, the humor disappears from the story. This use of humor is unexpected from such an august figure as Eliot.

What is even more surprising is the use of British vernacular in the dialogue of the characters. This may be due to Eliot's love of Sir Walter Scott, an author who made copious use of Scottish accent in his fictional novels. Regrettably, this "British brogue" doesn't work as well here as it does in Scott's work. All too often, the dialect drops out of dialogue, leaving the reader to wonder how the characters can switch between perfect English and provincial slang.

Perhaps Eliot's novel is best summed up in her statement, "I am telling the history of very simple people, who had never had any illuminating doubts as to personal integrity and honour." There is honor and integrity, such as duty to family and stoicism in the face of harrowing losses. However, this is ultimately a sad book, and quite effective in showing how social norms and narrow mindedness can ruin lives and create needless sorrow. This may not be Eliot's best work, but it definitely deserves due consideration by lovers of classic literature.

I read this book for a Victorian writer's group. I must admit that at first I was sorry this novel had been selected to represent the time period, because I have read books by Jane Austen, the Bronte sisters and many other novelists whose writing certainly draws you into their stories more quickly. However, I am glad that I persevered to finish the book. Yes, there is a very long set-up, and yes, a huge amount of action occurrs in the last 150 pages of this 650-page novel. But read on--it's worth it.

The novel essentially tells the story of the Tulliver and Dodson families, who live in the town of St. Oggs, known for its middle-class ethics and narrow-mindedness. Mr. Tulliver is married to a former Miss Dodson. The Dodsons are a fairly prosperous family of four sisters and their husbands. Mr. Tulliver is a somewhat less well-off miller, and a major theme of the novel is the way that Mrs. Tulliver's sisters believe that in marrying Mr. Tulliver, she married beneath herself and brought shame upon the family...

The Tullivers have two children--Tom and Maggie. Tom is responsible and hard-working, but has an overdeveloped sense of morality and is constantly punishing Maggie for her shortcomings. Maggie does not seem to belong in St. Ogg's; she is a little wild and free-spirited, qualities that do not endear her to the Dodson sisters of the townsfolk in general. She also worships her brother, despite her inability to live up to his demands. The story unfolds as Tom and Maggie come of age...

There are a lot of vivid and interesting characters in this book. I found the Dodson aunts particularly interesting. Maggie's character is probably the most memorable in the novel--she becomes a unique kind of heroine particularly when one considers her goal in life, which is to bring happiness to everyone else while she completely sacrifices her own hapiness.

The most memorable aspect of this novel to me is the concept of egoism. While each character's trials is the most central theme in his or her own life, in the grand scheme of things, their troubles are minute and unmemorable. This is a timeless theme, that is as important to bear in mind today as it was when the novel was written.

This novel can be difficult to read. The paragraphs can be exceedingly long, sometimes 2-3 pages. There is not a lot of dialogue, as Eliot is more concerned with the characters' inward struggles. Finally, not a lot happens in the first 350 or so pages. However, struggle through the somewhat dull beginning. The ending is exciting and heartbreaking, and will stay with you for a long while.

Compare it not to DAVID COPPERFIELD but to Proust. I don't understand calling this book "sentimental" or "melodramatic." Big Things happen, yes, many of them inside the characters' heads, and they all pay their way in tragic resonance. Big Things are felt, yes, and anatomized with scrupulous truthfulness. The prose is glorious, and the characters presented with such subtlety and complexity that a reader can only feel extravagantly complimented on his intelligence.

If you're stranded on a desesrt island for the rest of your life and can have only one novel with you, make it REMEMBRANCE OF THINGS PAST. But if you're stranded on a desert island and have only a week to live, make it MILL ON THE FLOSS.

By the way, Byatt's notes and introduction are terrific. (You will read the introduction after reading the book, of course.) She's plainly aware of all the traditional critical assessments of the novel, but isn't afraid to bust some of the hoary objections historically raised to the novel, most of them relating to the double-standard with which mostly male academics tend to treat female protagonists in fiction.

There were certain passages of The Mill on the Floss, Proust once told a friend, that never failed to move him to tears. No wonder: In its exact and evocative attention to detail, vivid characterizations and profound understanding of human thought and motive, The Mill on the Floss had an obvious and startling influence on A' La Recherche du Temps Perdu. The Mill on the Floss is melodramatic, sure, but melodrama was the bread and butter of Victorian English novelists; compared with David Copperfield, for example, The Mill on the Floss is a model of restraint. George Eliot creates here an indelible portrait of St. Ogg's, an English provincial town whose residents lead lives "irradiated by no sublime principles, no romantic visions, no active, self-renouncing faith." In particular, she creates Maggie Tulliver, one of the most memorable characters in all literature, whose quest for sublime principles and romantic visions puts her into direct conflict with her neighbors and with Tom, her stubborn, unimaginative brother. The book's tragic ending is superbly haunting, and has helped to make it a deserved favorite of readers for nearly 150 years.

This is a book that I would highly recommend to anyone. While I don't believe that this story can be placed in real life, I think that it does typify the style of literature in this period.

In Maggie, there is someone who is truly an innocent, but through her life, teaches herself to take what life gives her and not fight for the things she truly loves. Only at the end, does she realize that she does have to have some kind of passion in her life. However, her duty/need to be accepted by her family tugs her in the opposite direction.

In Tom, the duty to family is exemplified--to an extreme. His narrowness drives people away, and although he is to be respected for his drive to overcome, it comes at a high price. It is left to the reader to decide if it was truly worth the cost.

Phillip, in my mind, is the hero of the story. Born with a deformity, he is accepted by those one would think would shun him. His outlook is to find passion in everything--for instance, if you don't sing well, don't let that stop you...as long as you are passionate about it, it will be fine. In Maggie, he finds someone that he can care about and who cares about him.

Be ready for a great story.

How do you balance duty to your family against duty to yourself? Brother and sister Tom and Maggie Tulliver wrestle with this problem throughout The Mill on the Floss, guided (and misguided) by the opinions of a host of friends and relatives. Both accept different kind of burdens and cause each other different kinds of problems, and each suffers - one way or another - in the name of duty.

Eliot fights against the influence of class, money, gender, and even handicap, repeatedly showing that being a good person is independent of these things, and this alone makes her a fairly modern read, although we have made so much progress in these areas in 150+ years that it is occasionally difficult to appreciate the seriousness of certain actions her characters take. For example, we don't think much today of a man and woman spending time alone together, but in Eliot's time, this would ruin a woman's reputation forever unless he married her. We also don't take family obligations quite as seriously, so it's important to remember that people were willing to do quite a bit to defend the honor of their families.

With over a dozen people to keep track of, I kept updating a list of names in the front cover, and I found that a big help. I recommend this to anyone reading this book for the first time - especially when it comes to the various Aunts and Uncles and their particular idiosyncrasies.

I absolutely loved the fact that it's a tragedy. It made sense for all of Maggie's faltered endeavors. The tumultous emotional journey of Maggie Tulliver takes you on a fantastical and imaginative ride. The novel is as romantic as Scott and Byron's works, but at the same time as severe as century-old Christian philosophy in Thomas a Kempis. The beauty of Eliot's language in all its simplicity and the complex thought it conveys offers an unique experience that you won't find in any other novels.