I reread Mrs. Gaskell’s NORTH AND SOUTH, and oh what a delight, perfect for the forward linearity of the e-reader. Mrs. Gaskell’s work is very deliberate and clear and straightforward– no need for flipping back and forth. One of my favorite things about her is that she addresses things most of the 
Old Victorians never touch, or at least don’t humanize. The hard thing about her is certain limitations of imagination, in this novel an ideological commitment to the superiority of the educated liberal Christian and the danger of people in combinations such as unions. You have to lay that aside– but once you do, Mrs. G. manages to make her main character Margaret Hale strong, suffering, a little wild, yet a complete lady– and above all a woman with a complex moral conscience.
I also like NORTH AND SOUTH’s Mr. Rochester effect, which is that the powerful, passionate man clearly meant to be Margaret’s mate, must be brought down from his arrogant high horse before the match can be made. Gaskell doesn’t blind her Mr. Thornton as her friend Charlotte Brontë did to her Mr. Rochester, but Gaskell does put him in dire financial straits, and then (take that, Mr. Captain of Industry!) she allows Margaret to inherit just enough wealth to help him. Only then can they meet as equals in marriage.
There’s one wonderfully melodramatic but vivid scene when Margaret challenges Thornton to go face the crowd of angry strikers in person, and then, when the crowd gets nasty, she goes herself and stands between him and them. In fact, in her desire to protect him, she throws her arms around his neck. Thornton’s reaction (this part feels so right) is actually physical pleasure and a conviction that the young woman obviously is in love with him if she would embrace him in public. He then fantasizes about her touch for weeks– it’s pretty hot stuff for the nineteenth century and a novelist who is a pastor’s wife.
Somewhat less satisfying, but not bad, is her portrait of a “good” union man, Nicholas Higgins, who teaches Thornton a few things, but also has to learn a few. Thornton, who is in fact a former worker who really did accumulate his own capital, sits down with Higgins, and they come up with some ways of working together. It rejects the all-worker union, but at least gives the privilege to a kind of mutuality.
One note about an element of all Mrs. Gaskell’s work that 21st century readers may mistake for melodrama is how characters drop like flies– they die of consumption, of apoplexy, of heart disease and some unnamed female complaint, probably a cancer– but to Gaskell’s mind, death of people in their fifties and sixties is perfectly normal, as is consumption taking a girl of nineteen or twenty. Think, in fact, of the Brontë siblings: two dead of Tuberculosis before 30, the brother of alcoholism (probably) even earlier, and Charlotte while pregnant at the age of 38.
