This chapter focuses on Neo-Victorian fiction as a sub-genre of the historical novel. It examines how British neo-Victorian texts are informed by Anglo-American and European postmodernist theories that challenged the division between history and literature. In this context, it contains discussions of a wide range of novels including Jean Rhys’s Wide Sargasso Sea (1966), John Fowles’ The French Lieutenant’s Woman (1969), A.S. Byatt’s Possession: A Romance (1990), and Sarah Waters’s Victorian trilogy that have now become part of an ever-growing Neo-Victorian canon, while also engaging with more recent manifestations of Neo-Victorianism in TV and film adaptations. It explores how Neo-Victorianism has intersected with British political discourse; how authors’ investment in Britain’s history and Victorian literary culture problematises the Neo-Victorian novel’s position in the academy; the form’s perceived prestige; and its contribution to debates surrounding accuracy and authenticity to argue that neo-Victorianism can be read as a symptom of decadent postmodernity.