“In his Preface to the 1892 edition of Tess of the d’Urbervilles Hardy warns the reader that ‘a novel is an impression, not an argument’. However, the text offers several explanations of Tess’s tragedy; social, psychological, hereditary, and fatalistic, all of which proceed from the assumption that Hardy’s text is in some sense determined, and that the character of Tess is somehow knowable. Indeed, the tragedy of Tess is in this sense overdetermined. But it should be remembered that the character of Tess is constructed in the text from many points of observation, including that of the ambivalent narrator; constructed that is from impressions.”

“An important dimension of Tess of the d’Urbervilles is its debt to the oral tradition; to stories about wronged milkmaids, tales of superstition, and stories of love, betrayal and revenge, involving stock figures. This gives Tess of the d’Urbervilles an anti-realistic inflection. From the world of ballad and folktale Hardy draws such fateful coincidences as the failure of Angel to encounter Tess at the ‘Club-walking’ on which he intrudes with his brothers, the letter to Angel that she accidentally slips under the carpet, the loss of her shoes when she tries to visit his family, and the family portraits on the wall of their honeymoon dwelling, as well as several omens. This chimes effectively with a world in which the rural folk have a superstitious and fatalistic attitude to life.”

“The astounding thing about Paula is that she looks like Tess of the D´Urbervilles, and she sounds like Tess of the D´Urbervilles, and she thinks like Tess of the D´Urbervilles and yet she is so different from Tess of the D´Urbervilles. I expect she comes from a different part of Dorset.”

“Text of bliss: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language.”

“There is no pleasure in being "duped" by the text into a helpless viewer, but there is considerable pleasure in selectively viewing the text for points of identification and distance, in controlling one's relationship with the represented characters in the light of one's own social and psychological context.”

“When I see Kaede nod her head in Tess's direction, I rise up from my crouch. This trot's going to choose Tess. Oh, hell no. Not while I'm watching. Not if Kaede wants to live.”