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An exploration of Collins’s musical likes and dislikes. He particularly disliked ’German’ music of the nineteenth century, with particular scorn for Schumann and Beethoven, although he admired Mozart
An exploration of how Collins’s prose style contributes to suspense and mystery by destabilising language and therefore creating ambiguity and ambivalence
Collins travelled throughout his life in both the UK and Europe. Places he visited are often used as settings within his fiction as symbolic landscapes
During his writing career Collins used nine English publishers for first editions in book form, starting with Longman (1848) for the biography of his father and ending with Chatto & Windus, which ultimately took over twenty-nine of his copyrights. Collins was a firm but fair negotiator but particularly so when he was established as an author, when he would frequently change publishers in order to secure the most advantageous financial arrangement.
Collins trained as lawyer and took the Bar as a young man, but never practised law. In much of his fiction the law is presented as either complicit with power or actively pernicious in its preservation of rigid social codes
A summary of critical responses to Collins’s fiction through the twentieth century as initiated by T. S. Eliot’s essay in the Times Literary Supplement