The Moonstone: Mystery and Imagination

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Who, in the name of wonder, had taken the Moonstone out of Miss Rachel's drawer?A celebrated Indian yellow diamond is first stolen from India, then vanishes from a Yorkshire country house. Who took it? And where is it now? A dramatist as well as a novelist, Wilkie Collins gives to each of his narratorsa household servant, a detective, a lawyer, a cloth-eared Evangelical, a dying medical manvibrant identities as they separately tell the part of the story that concerns themselves.One of the great triumphs of nineteenth-century sensation fiction, The Moonstone tells of a mystery that for page after page becomes more, not less inexplicable. Collins's novel of addictions is itself addictive, moving through a sequence of startling revelations towards the final disclosure of the truth. Entranced with double lives, with men and women who only know part of the story, Collins weaves their narratives into a web of suspense. The Moonstone is a text that grows imaginatively out of the secrets that the unconventional Collins was obliged to keep as he wrote the novel.

William Wilkie Collins (8 January 1824 - 23 September 1889) was an English novelist, playwright and short story writer best known for The Woman in White (1859) and The Moonstone (1868). Born to the family of a painter, William Collins, in London, he grew up in Italy and France, learning French and Italian. He began work as a clerk for a tea merchant. After his first novel, Antonina, appeared in 1850, he met Charles Dickens, who became a close friend and mentor. Some of Collins's works appeared first in Dickens's journals All the Year Round and Household Words and they collaborated on drama and fiction. In May of 1851 Collins acted with Dickens in Edward Bulwer-Lytton's play Not So Bad As We Seem. Among the audience were Queen Victoria and Prince Albert. Collins's story "A Terribly Strange Bed," his first contribution to Household Words, appeared in April, 1852. In May 1852 he went on tour with Dickens's company of amateur actors, again performing Not So Bad As We Seem, but with a more substantial role. Collins achieved financial stability and an international following with his best known works in the 1860s, but began suffering from gout. Taking opium for the pain grew into an addiction. In the 1870s and 1880s his writing quality declined with his health. Collins was critical of the institution of marriage: he split his time between Caroline Graves and his common-law wife Martha Rudd, with whom he had three children.

“The first, the longest, and the best of modern English detective novels in a genre invented by Collins and not by Poe.” — T.S. Eliot, author of The Love Song of J. Alfred Prufrock
“Probably the very finest detective story ever written.” — Dorothy L. Sayers
“Probably the best detective tale in the world.” — G. K. Chesterton, author of The Victorian Age in Literature

At a party celebrating her eighteenth birthday, Rachel Verinder wears the stunning yellow diamond she unexpectedly inherited from her uncle, Colonel John Herncastle. She is not aware that the precious gem, known as the Moonstone, was plundered from a sacred Hindu shrine in southern India where her uncle had served with the British army fifty years earlier.
But someone knows the secret of the Moonstone and will go to desperate measures to retrieve it. When it goes missing later that night, suspicions are raised and accusations fly. Could it be a trio of mysterious Indian jugglers seen near the house? Or a love-struck housemaid suddely behaving strangely? And there is Rachel herself, who becomes furious when her paramour, Franklin Blake, directs attempts to find it.
As divergent accounts reveal more details, the diamond's recovery is complicated by unexpected twists and turns. Sifting through a compelling list of suspects, the indomitable Sergeant Cuff must find the truth about the Moonstone and its mysterious disappearance.