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Situating George Eliot within mid-Victorian debates over central versus local government, this article contests the widespread presupposition that Eliot rejected official politics in favor of cultural mediation. Specifically, I argue that in Middlemarch: A Study of Provincial Life (1871–72), Eliot seeks to kindle a desire for local political institutions and to promote, in J. S. Mill's words, “the capacities moral, intellectual, and active required for working” them. Using the representative protocols of the local press, Eliot portrays Middlemarch's public health institutions as both opaque and transparent. While the public health work of Tertius Lydgate is essential to the novel's bildung plots and the town's cholera response, it is only represented obliquely through narrative paralipsis. In contrast, Eliot stages local council debates theatrically in scenes whose typography mimics the local press's treatment of council meetings. Eliot then supplements these protocols with the realist novel's networked form, which compels readers to supply characterological depth to the elided labors of Lydgate and the dramatic representations of council meetings. In thus depicting local representative government, Eliot prompts a desire for local political institutions and trains her readers in the cognitive skills needed to participate within them.

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This article examines Edwardian “radioactive fiction”—narratives about radium’s transformative political implications—to demonstrate how radioactivity shaped narrative form and English politics between 1898 and 1914. Recent scholarship on this period’s literary engagements with energy physics and politics shows that thermodynamics’ second law provided the narrative structures that shaped turn-of-the-century scientific, cultural, and political discourses. At this moment, however, radioactivity upended these “entropolitical” narrative forms through its seemingly endless self-regeneration. Attending to this narratological and scientific upheaval, the article argues that formal experiments as varied as Joseph Conrad’s Secret Agent ([1907] 2007) and H. G. Wells’s World Set Free (1914) exemplify a widespread regrounding of narrative and political form in a universe where the fundamental laws of energy no longer apply. The article first examines how espionage, detective, and invasion fiction, exemplified by The Secret Agent, incorporated the Edwardian press’s figuration of radium to suggest that the entropic nation-state’s raison d’être, degenerate populations, was not so entropic after all. It then examines utopian treatments of radioactivity to argue that nonentropic narrative forms modeled political orders beyond the nation-state. Through narrative chiasmus, The World Set Free figures an atomic state capable of organizing its constituent parts into a new collectivity, the global atomic commons.