ling themselves utterly superior to other cultures, and Flashman, cynical as he may be about the truth of such a social structure, is far from being above taking advantage of it when it suits him: "My nigger, whose name was Timbu-something-or-other, was of great use at first, since he spoke English, but after a few weeks I got rid of him" (66).
The portrait of the Victorian social structure is meant to clarify the superficiality and pretense of that society. After all, Flashman is the recipient of the best the society has to offer, and chalks up accomplishment after accomplishment in his high social station: "I have enough of what society would consider the credit side of the ledger---a knighthood, a Victoria Cross, high rank, and some popular fame" (11). Of course, Flashman is a complete and unadulterated scoundrel, which gives the lie to the British claim that their glorious social structure is a preserve of virtue.
Neither of the books can be dismissed as merely a "piece of nostalgia." Achebe is more serious in his critical look at cultural and historical issues, but certainly Fraser as well, despite his emphasis on humor, means his work to be a negative commentary on the attitudes and policies of the British at home and around the world.
Flashman shows the social structure of Early Victorian England to be rife with prejudice, injustice and ignorance. Flashman himself is capable of showing as much prejudice as any other character, but his pragmatism and sense of humor allow him to cut through his biases from time to time. He is forced to marry a woman of a lower class, but he defends her against the bigotry of his superior officer. The officer represents British class prejudice: "The lady, I have no doubt, is an excellent young woman, but she is---nobody" (Fraser 60).
The novel does not dwell on industrialization, but it is clear th
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