This chapter focuses on Neo-Victorian fiction as a sub-genre of the historical novel. It examines how British neo-Victorian texts are informed by Anglo-American and European postmodernist theories that challenged the division between history and literature. In this context, it contains discussions of a wide range of novels including Jean Rhys’s Wide Sargasso Sea (1966), John Fowles’ The French Lieutenant’s Woman (1969), A.S. Byatt’s Possession: A Romance (1990), and Sarah Waters’s Victorian trilogy that have now become part of an ever-growing Neo-Victorian canon, while also engaging with more recent manifestations of Neo-Victorianism in TV and film adaptations. It explores how Neo-Victorianism has intersected with British political discourse; how authors’ investment in Britain’s history and Victorian literary culture problematises the Neo-Victorian novel’s position in the academy; the form’s perceived prestige; and its contribution to debates surrounding accuracy and authenticity to argue that neo-Victorianism can be read as a symptom of decadent postmodernity.

The notable vein of neo-Victorian fiction focused on Alfred Russel Wallace’s and Charles Darwin’s voyages in the tropics serves as the occasion for an exploration of the differences between literature and science. Whereas science seeks knowledge of the natural world, literature explores the meaning of our lives in that world. Like the dichotomy between fact and fiction, the rival claims of knowledge and meaning indicate the realm from which literature’s value to public policy derives. The study of literature’s formal resources – analogy, metaphor, myth, narrative, and more – demonstrate the untapped value of literature for revealing to policy makers the true complexity of public responses to science. Andrea Barret’s "Birds with No Feet," A. S. Byatt’s "Morpho Eugenia," and David Mitchell’s Cloud Atlas are read against the backdrop of nineteenth-century evolutionary theory.

The 1980s and 1990s saw a dramatic increase in popular and critical attention to Decadence, largely due to the growing awareness that the trials of Oscar Wilde had been an important milestone in the development of queer identity. Wilde was prosecuted for a lifestyle more than anything else, and the 1890s development of a set of queer cultural tropes and social practices began the process of publicly articulating non-normative sexual identity. This chapter charts the interest in Decadence and aestheticism in this period, paying particular attention to how the lives of Wilde and his circle spoke to the context of the time, particularly the HIV/AIDS crisis. This chapter looks at the role Decadent writing played in the literature of the period, studying in particular Peter Ackroyd’s The Last Testament of Oscar Wilde (1983), David Hare’s play The Judas Kiss (1998), and Alan Hollinghurst’s The Swimming Pool Library (1988) and The Line of Beauty (2004). The recovery of Decadence at the fin de siècle of the twentieth century seemed to signal that the modernity of the twenty-first century could locate its origins in the radical attitudes and practices of the Decadent 1880s and 1890s.