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What a Terrible Way to Begin a Novel! But I Love It


Anthony Trollope’s The American Senator begins with a description of Dillsborough. Might as well call it Dullsville.

Trollope explains that Dillsborough county has no special landmarks, the village is small, the populace is mediocre, the curate doesn’t preach well, the church is shabby, the prominent families are not that prominent, and no one is notably prosperous. Nothing of interest. He goes on to describe the family history of several generations of the Morton and the Masters clans. Somewhat complex, as most family histories are, but devoid of dramatic tension. Dillsborough is dull. The residents of Dillsborough are dull. Ho hum. Is there a Seahawks game on TV? I’m not a football fan, but when there’s nothing better…


Why would anyone want to read this book? Well, I, for one, love it. I’m reading it a second time now with an online Trollope reading group. If you like Trollope, join the group. It’s informed, witty, welcoming, and civil. If you like Trollope, you’re one of us.

I bought a copy of The American Senator in the book department of Harrods on a business trip to London twenty years ago. A few years before, I received Trollope’s headliner Barsetshire and the Palliser series as a premium for joining the New York Review of Books book club, read, and enjoyed both series, but I had not read much else of Trollope. I was surprised at Harrods’ range of Trollope titles. I came home with as many of Trollope’s less well-known books as I could cram into my roll-aboard and read them all soon after.

I am in the straits of interesting a literary agent in my own novel and have read more about how to construct a compelling story than is likely good for anyone. Trollope breaks all the so-called story rules in the first three chapters of The American Senator.

Henry James complained that Trollope talked to his readers too much. He does that in the first few chapters of The American Senator. When a little interest sparks, the omniscient narrator informs us more will be said later about this person or that place, so we best not trouble our little heads about it. Today, critics would cite Trollope for reader abuse if such a thing could be done, but they would be wrong. Anthony Trollope was no fool. When The American Senator was written, he was a seasoned novelist with his craft well in hand. He was economical and he knew how to keep his story lines straight.

An omniscient narrator is somewhat rare these days, but it’s one of Trollope’s strengths. His narrator is a character speaking in the first person. The narrator is not an active participant in the story line, but he is a distinct and appealing personality. The reader hears the narrator’s voice as he tells the story and his role is as important as any of the plot characters. At times, I suspect that Trollope is offering us an unreliable omniscient narrator, if such a chimera can be permitted. I don’t question the omniscience of the narrator’s knowledge of events, but sometimes I catch a hint that the narrator’s commentary is designed to raise the reader’s hackles rather than represent an interpretation that Trollope, the author, believes is true.

From the day I started reading Trollope, I was amazed at Trollope’s descriptions of people and places that are fiercely remote from my experiences as a farm boy and software engineer, and yet somehow as familiar as neighbors across the line fences when I was growing up. The first chapters of The American Senator exercise that draw on me. Trollope’s descriptions are perfectly scaled to yield a sense of living community. In The American Senator, he adds piquancy to familiarity with the observations on Dillsborough society from a bizarre apparition from a sister planet in a distant galaxy, an American Senator from the imaginary state of Mikewa.

By the time Trollope wrote The American Senator, he was an experienced novelist and author; critics like me should not kid themselves; he knew exactly how far he could go before events had to begin to pop. And he knew how to build a setting to turn pops into explosions.

Trollope exercised some brinkmanship in these three ostensibly dull beginning chapters. The American Senator is anything but dull as the narrative rolls out and the story is enhanced by its contrast with a seemingly dull backdrop. He risked putting impatient readers off, but Trollope was saying “See, even in this dull place, life is intense and dramatic.” The seasoned master novelist takes readers to the edge of boredom, plays them with telling details, then yanks them back like a fly fisherman luring mountain trout.

The first three chapters of The American Senator are clearly not the failure predicted by modern novel writing rules or Henry James’ scolds. And I don’t accept the snide explanation that Victorian readers were starved for entertainment and therefore willing to suffer boring introductions to overly long novels. These chapters are successful for a significant swathe of readers of any era including the digital network age of the twenty-first century.

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Reading Trollope On Line

When I mention that Anthony Trollope is one of my favorite authors, I get eye rolls, even among Downton Abbey fans, a series that I don’t care for because I think it is the Gone With The Wind of the British aristocracy.

I won’t get into why I prefer Trollope— any Trollope, even The Fixed Period— to Downton Abbey, but I have many reasons, which I might get into in another post, but not now.

Anthony Trollope was a mid-nineteenth century British Victorian novelist, roughly contemporary with Charles Dickens, William Thackeray, the Brontë’s, and George Elliot. He was somewhat older than Thomas Hardy who wrote well into the twentieth century. Jane Austen preceded Trollope, straddling the eighteenth and nineteenth centuries.

Although Trollope is by far my favorite among the Victorians, I notice that he is not listed among Victorian novelists in the Wikipedia article on Victorian Literature, not even in in the subsection on other Victorian writers. Why is that? I am not an expert, but in his own time, Trollope’s contemporaries accused him of being too prolific and too commercial. He was not ashamed to fret over payment for his books.

Trollope was a bureaucrat in the British postal system and he often wrote while traveling on official business. He kept to a strict schedule, rising early to get in his daily quota of words and said that if he finished one book during a writing session, he started his next without pausing. He kept meticulous records of his number of words per day.

In other words, Anthony Trollope was a novel writing machine. He wrote forty-seven novels in addition to short stories, travel books, a history of the English clergy, an autobiography, and other writings on miscellaneous subjects. Contemporary critics roundly condemned him for being overly prolific. Today, he might be accused of being a hack, of substituting quantity for quality.

Myself, I am profoundly grateful that Trollope wrote every day and turned out books one after another. I have been reading Trollope regularly for thirty years now, and there are still books I am looking forward to reading for the first time and there are others that seem completely new because it has been so long since I read them.

Some things make it easy to become a Trollope enthusiast. Project Gutenberg has made most of his books free in electronic editions. Amazon also has many of Trollope’s works available electronically at nominal price or free. These electronic versions are not perfect— the transcription process introduces a few errors and they are often the product of enthusiasts rather than experts, but they are still very readable. Cheap used paper copies are also easy to find on-line.

For me, however, the gem is the Group Reading of Anthony Trollope , which I call the “Trollope list.” The Trollope list reads a book by Trollope together every two or three months. I think they are unique in that a volunteer member of the group summarizes each week’s chapters. This is startlingly effective. The summaries spark discussion, and busy people who have trouble keeping up with their reading, can keep up with the discussion based on the summaries even when they have slipped behind. I admit to occasionally reading only the summaries during a busy week and skipping a few chapters in my own reading. This makes group reading so much less onerous. You can relax and enjoy Trollope instead of worrying about finishing a reading assignment each week.

I cannot say enough about the group members. Some are academics, some are dilettantes like me, others are just enthusiastic readers. The discussions are wide ranging—some go into Victorian arcana, others apply Trollope’s insights into contemporary society, some revel in the Trollope’s romance and dramatic tension. Anyone who enjoys Dickens or Jane Austen should dip into Trollope. He touches many of the same topics, but with a different style and perspective that I find fascinating.

The Group Reading of Anthony Trollope is an excellent starting point for getting to know Trollope. The group is well into Phineas Finn at this writing, but do drop in, you may find that starting in the middle, “in medea res,” works for you. You must join to participate or read the discussion, but it’s all free. Civility and absence of politics are the rule. There are no trolls on the Trollope list.

If you don’t care for the daily and hourly emails of an active group, opt for “no email” and go to the group website, Group Reading of Anthony Trollope when you feel like it. You only get one email a day if you go for a “daily summary.” My choice is to enjoy the continual conversation of “individual messages.” You can subscribe below.