Philip Hensher’s *A History of the Novel in Britain*, published by Pelican, offers a comprehensive examination of two centuries of British fiction from its inception in 1719 through to the turn of the 21st century. The book presents a cohesive narrative that interlinks authors, styles, and literary movements, avoiding the compartmentalized approach typical of many academic surveys.

Hensher begins by tracing the origins of the novel with Daniel Defoe’s *Robinson Crusoe*, moving swiftly into the mid-18th century developments marked by Samuel Richardson and Henry Fielding. He explores the dynamic interplay between their works—Richardson’s epistolary *Pamela* (1740) met with Fielding’s satirical *Shamela* (1741) and *Joseph Andrews* (1742). The rivalry extended beyond literature into their publishing strategies, with Richardson’s experience as a printer allowing him to maintain control over his copyrights, enabling ambitious projects like the million-word *Clarissa* (1748). Fielding, meanwhile, relied on patronage, affording him greater artistic freedom despite financial precarity.

The narrative continues into the 19th century, illustrating the challenges faced by authors such as Jane Austen, whose *Pride and Prejudice* (1813) initially suffered from poor-quality publication and limited financial success. Hensher highlights how the novelist’s fortunes improved over time alongside broader shifts in literary reception. His account also reevaluates often overlooked or undervalued writers; for example, Hannah More is presented as a refined stylist rather than a mere moralist, and Arnold Bennett’s *The Old Wives’ Tale* (1908) is advocated as deserving recognition among the century’s finest novels.

While the book offers praise for many authors, it remains candid in its criticism. Hensher dismisses Ann Radcliffe’s gothic work as lacking literary quality and judges some contemporary experimental novels of the 1960s to 1980s as derivative rather than genuinely innovative. He challenges the novelty of techniques attributed to later writers, tracing their origins back to earlier figures such as Fanny Burney, Evelyn Waugh, and even Fielding himself, particularly regarding narrative experimentation and self-reflexivity.

Hensher deliberately concludes his study at the year 2000, citing the difficulty of critically assessing very recent literature. This decision underscores a measured and thoughtful historiographical approach, emphasizing the importance of historical perspective in literary appraisal. Throughout, his dual role as novelist and scholar informs an engaging, accessible, yet erudite text that combines literary criticism with a storytelling sensibility, rendering the history of the British novel both informative and entertaining.