" "Reading the Details: Realism and the Silver Fork Novel, 1825-1845," argues that the silver fork novel, a popular genre characterized by meticulous depictions of elite lifestyles and their material trappings, utilizes a particular set of narrative practices in order to foreground detailed description. These novels display an orientation towards openness and inclusivity, an emphasis on deliberate self-fashioning, and a reversal of subject-object hierarchies. The poetics of the silver fork thus challenge many of the normative narrative features established by realist fiction. In lieu of conventional realist values such as coherent plotting, character interiority, and affective engagement, silver forks offer an emphasis on details, surfaces, and the external world of materiality and consumption. The first chapter examines how the silver fork novel prioritizes inclusiveness in order to encompass as much detail as possible. In their fluid approaches to plot and genre, these texts depart from a traditional emphasis on closure and coherence. Benjamin Disraeli's Vivian Grey (1826-27), Edward Bulwer Lytton's Godolphin (1831), and Letitia Landon's Romance and Reality (1833) all feature meandering, at times wildly improbable plots, which terminate abruptly, with either the certain or probable death of main characters. A novel's generic status is likewise flexible: tropes from other schools of fiction, such as the gothic, can be readily inserted and equally readily discarded. In this chapter I complicate the tendency to read these traits as indications of structural carelessness, and posit that they allow the silver fork text to present the dense texture of detail that functions as the genre's key aim. The second chapter investigates another narrative property that is likewise perceived as a mark of failure when read through realist expectations: an emphasis on artifice and self-conscious construction. These tropes shape the silver fork delineation of character and lead to practices of metanarration and revision in which the text is crafted in response to dictates of fashion and taste. In works such as Edward Bulwer Lytton's Pelham (1828), Catherine Gore's Cecil (1841) and Benjamin Disraeli's The Young Duke (1831), silver forks emphasize externals rather than prioritizing the representation of believable, psychologically complex characters. By showing how both protagonists and narratives engage in deliberate and prescriptive strategies of self-presentation I continue the work of analyzing how the narrative structures of silver fork novels optimize the representation of detail.In the final chapter, I explore how the representation of objects intervenes in silver fork depictions of relationships and affect, subverting the typical hierarchy between subjects and objects. To establish this pattern, the chapter focuses on two particularly "domesticated" examples of the silver fork tradition, Catherine Gore's Mothers and Daughters (1834) and the Countess of Blessington's Victims of Society (1837). Both of these novels deal extensively with relationships, subjective choices, and the production and governance of desire as they follow their casts of characters through courtships, betrayals, and both happy and unhappy marriages. They thus participate in reframing priorities concerning the representation of relationships and broadening the kinds of desire which silver fork novels depict beyond the expectations of the realist tradition. Having shown how plot functions to accumulate detail, and characterization functions to refine it, the final chapter reveals how that detail can then serve to reshape narrative priorities." --