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Hughes is much better at piling on the details of Victorian intellectual life than working her way inside the creative processes that created Middlemarch, Adam Bede, and Daniel Deronda. The first half of the book, covering Evans' family life and difficult early adulthood, reads well, the impressive accumulation of research making up for lack of narrative.
But when Evans creates Eliot and the first of her fictions, the book should snap to life. It instead deflates, dutifully cranking out novel synopses and recounting scandals without ever getting at why Eliot's fiction was so beloved in her day, and remains so today.
A novelist of uncanny power and tremendous influence, Eliot deserves a biography at the level of Peter Ackroyd's spectacular life of Dickens. We're still waiting...
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