Drawing on Giovanni Arrighi’s The Long Twentieth Century, the introduction develops a theory of finance capital as a complex historical process, which, during the modernist period, involved the economic and cultural turn toward London, the rise of the modern corporation, the growth of the professional classes, and the emergence of affect as value form. The introduction differentiates this definition of finance capital from those definitions that inform the field of critical financial studies, and it surveys economic criticism in modernist studies to demonstrate the minimal attention paid to finance capital in the field despite the fact that the period corresponds to an era of rapid and widespread financialization. The introduction argues that the crisis in representation often identified with modernism participates in a historical moment of financial crisis as artists and intellectuals account for the emergence of new value forms like speculation, volatility, risk, and affect.

Via an analysis of H. G. Wells’s Tono-Bungay, this chapter explores how novels adapted to accommodate the metropolitan spaces of London, and it argues that Wells’s novel links the financialization of the British economy and the cultural turn toward London to the emergence of a new novelistic poetics and to the development of a new novelistic character. Tono-Bungay narrates the rise and fall of Teddy Ponderevo’s financial empire, but the source of drama in the novel is more often the narrator’s inability to reconcile classical novelistic poetics with the logic of value production under finance capitalism and with his experiences in London. The narrator longs for a new mode of representation that can account for the largely imaginary and highly volatile value produced by the financial empire, and he finds inspiration for that new mode of representation in the urban spaces of London.

Thomas Hardy’s Tess of the D’Urbervilles is motivated by questions surrounding the legibility of character, and it begins to associate those questions with the increasing economic and cultural influence of London. As an ostensibly provincial novel, Tess is an important test case for the claim that the financialization of the British economy was accompanied by a cultural turn toward London. This chapter argues that Tess is in fact a London novel as it depicts a provincial Wessex infused with the economic and spatial logic of London, a logic that poses problems for the reading of character in the novel, as it depicts Angel Clare mistakenly interpreting Tess’s character through a pastoral rather than urban hermeneutic.