George Gissing in Vogue
Midway through New Grub Street (1891), Reardon reunites with his wife Amy. In preparation, he leaves behind his overcoat. This attire, once “fairly good,” is now long past its prime, “the edges of the sleeves were frayed, two buttons were missing, and the original hue of the cloth was indeterminable.” Reardon knows Amy well, but not well enough: her attention at the meeting is quickly directed to “his muddy and shapeless boots,” and her desire for “a renewal of amity” conflicts with her shock over her husband’s appearance: “[S]uch attire degraded him in her eyes; it symbolised the melancholy decline which he had suffered intellectually.