Mesmerizes Maggs in order to “map’’ Maggs’s world, in much the same Perhaps control the subconscious world, Oates enters Maggs’s Like the Victorians who used mesmerism as a way to understand and Renk explores this mixed use of psychology in regards to Oates: Victorian psychology became increasingly interested in unconscious character traits, Carey utilizes a more complex (and admittedly more modern) understanding of psychology. Reviewers also comment on the text’s highly psychological slant, introduced in large part by way of Carey’s Tobias Oates, a chaacter meant to stand in for Dickens himself. Carey perhaps digs deeper than Dickens, and one reviewer notes Carey’s propensity for finding characters on the margins of society to pull into the center of the text, highlighting “the once unspeakable - homosexuality, prostitution, extramarital pregnancy, backstreet abortions” (Landon 240). Many critics concetrate on the relationship of Jack Maggs to the Victorian themes of its source - or rather target - text, Great Expectations. Although Jack Maggs obviously corresponds to Magwitch as Phipps does to Pip, Carey writes with the “intent to subvert his models” (Krist 624). Many critics have praised Peter Carey’s literary reimaginings (including but not limited to Jack Maggs) for his ability to construct a text that faintly gestures to its source text while simultaneously obliterating ties to that original.
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