DOCSLIB.ORG

Alessandro Vescovi (Eds), Dickens:The Craft of Fiction And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alessandro Vescovi (Eds), Dickens:The Craft of Fiction And From Rossana Bonadei, Clotilde de Stasio, Carlo Pagetti, Alessandro Vescovi (eds), Dickens:The Craft of Fiction and the Challenges of Reading, Proceedings of the Milan Symposium, Gargnano September 1998, Milano, Unicopli, 2000. Reprinted in Carlo Dickens by kind permission of the publisher. STEPHEN HASTINGS «DAVID COPPERFIELD» AND «GREAT EXPECTATIONS»: THE CRAFTING OF KINDRED NARRATIVES The interrelatedness of Dickens’s works is a fascinating aspect of his art, and few would deny that David Copperfield and Great Expectations have more in common than any other two of his novels. For the orphans David and Pip the experience of growing up and making their way in the world, however different in its overall pattern, is often remarkably similar in detail: both have early recollections of family graves, suffer violence from surrogate parents and teachers, feel uncomfortable at mealtimes, show acute awareness of social status, interpret their lives at times in terms of fairy tale, fight with other boys, move to London, experiment uneasily with debauchery, go to the theatre, prove victims of idle and dishonest servants, have disheartening dealings with the legal profession and undergo a serious emotional crisis, marked by illness and travel abroad. The characters who surround them also tend to resemble each other: Biddy and Herbert taking over from Agnes and Traddles in the later novel, while Miss Havisham represents a more sinister development of Betsy Trotwood. More surprising, perhaps, in the light of Dickens’s claim to have reread David Copperfield when starting out on Great Expectations in order to avoid “unconscious repetitions” (Forster, 1928: 285), is the recurrence of specific imagery in similar circumstances: the skins of both Peggotty and Mrs Joe are associated with nutmeg graters1 and both lawyers’ clerks – Heep and Wemmick – have mouths “like a post office”2. 1 “I have an impression on my mind which I cannot distinguish from actual remembrance, of the touch of Peggotty’s forefinger as she used to hold it out to me, and of its being roughened by needlework, like a pocket nutmeg-grater.” David Copperfield: 61. “My sister, Mrs Joe, with black hair and eyes, had such a prevailing redness of skin that I sometimes used to wonder whether it was possible she washed herself with a nutmeg grater instead of soap.” Great Expectations: 40. 2 “His mouth open like a post-office” David Copperfield: 443. “His mouth was such a post-office of a mouth” Great Expectations: 196. David Copperfield and Great Expectations 85 Above all, however, it is the continuous use of the first person narrator that sets these novels apart from others by Dickens and makes them at the same time central to his oeuvre. Not only because they are in some ways autobiographical (a factor that has little influence on readers’ appreciation of the works), but also because this form of narrative allows for the most vivid and structurally coherent representation of what Geoffrey Thurley (1976) has suggestively, if over-schematically, defined as the central “Dickens myth”: the story of the painful social climb of an orphaned or fatherless child. As Thurley points out, this story pattern is also central to the novel as a genre, reflecting as it does the aspirations of the middle-class society within which that genre developed. And I would argue that no other 19th century novels convey as memorably as these the moral and emotional complexity of the experience of growing up and seeking a role in life. Stendhal’s Julien Sorel or Charlotte Brontë’s Jane Eyre may be more striking as characters than David and Pip, but neither these nor other writers succeed as well as Dickens in persuading us that the feelings of the protagonist are also, intimately, our own. “What is natural in me, is natural in many other men, I infer” (516) says David Copperfield at one point, and such appeals to the reader’s awareness of his own fallibility or emotional ambivalence recur a number of times3 in both novels. My aim is to illustrate some of the ways in which Dickens persuades us to respond to these appeals by subtly controlling our reactions while reading. A subtlety that is partly achieved by means of a supreme exercise of literary craftsmanship – a term that Dickens would surely have found congenial, for he himself implicitly likened the writing of Great Expectations to Joe’s craft: “All the iron is in the fire, and I have ‘only’ to beat it out” (Dexter 1938: 217). In order to appreciate this craftsmanship, however, it is necessary to recognize that the pleasure and stimulation derived from these novels usually owe more to a sense of intimately shared experience (David Copperfield himself tells us that his books kept him “company” (105)), lasting perhaps a number of weeks (or months, when they were first serialized), than to any subsequent evaluation of their overall significance – 3 Examples include: “I committed two small fooleries which other young gentlemen in my circumstances might have committed” David Copperfield: 542. “We have all some experience of a feeling (...)” David Copperfield: 630 “If a dread of not being understood be hidden in the breasts of other young people to anything like the extent to which it used to be hidden in mine – which I consider probable, as I have no particular reason to suspect myself of having been a monstrosity – it is the key to many reservations.” Great Expectations: 95. “There have been occasions in my later life (I suppose as in most lives) when I have felt for a time as if a thick curtain had fallen on all its interest and romance (..)” Great Expectations: 135. 86 S. HASTINGS moral or otherwise. These novels should not be interpreted as if they could be assimilated in a single glance, like a painting, seeking flaws of detail that in a normal reading are concealed by sheer authorial sleight of hand and the natural limitations of the reader’s memory4 . The workings of memory are of course themselves part of the subject matter of David Copperfield, and here too Dickens’s achievement is above all to make us feel the complexity and strangeness of the experience of remembering – as when David the head-boy recalls his younger self as “something I have passed, rather than have actually been” (325-26) – and the ways it influences our perception of time, rather than to make us continually seek patterns of meaning in the memories themselves. Such patterns undeniably exist – indeed the plot would collapse without them – yet they often (as in the case of David’s choice of a wife so similar to his mother) derive their strength from remaining submerged as it were beneath the surface of the narrative, enriching it with echoes that are only indistinctly perceived. In the same way Great Expectations – a work more exclusively of than about memory – is surely more involving as an exploration of the often irrational nature of unhappiness, dissatisfaction, shame and guilt than as a neat moral fable – however well it may function exegetically as such. For Dickens the first person narrator was the ideal medium to achieve both immediacy of expression and strong reader participation. In order to obtain the latter, he limits the analytical self-awareness – though not the sensitivity or intelligence – of his narrators. We have extreme examples of this in chapter fourteen of both novels, where David states that he “never thought of anything about” himself “distinctly” (272) and Pip says: “What I wanted, who can say?” (135) This indeterminacy is both convincingly true to life and necessary to Dickens’s fictional aims, for if David and Pip interpreted their lives more self-assuredly , they would inevitably force the reader into a more passive, onlooking role. By comparison, earlier first person narrators such as Moll Flanders, Roderick Random and Jane Eyre – although they too are made to withold information for the sake of suspense – seem in greater retrospective command of their own existences and are more consistent in tone of voice (and this in turn makes them appear more concretely tangible as human beings)5. On the other hand, the often subdued tone of David and Pip when describing their own feelings contrasts with their extrovertly virtuosic depiction of other characters and reporting of 4 Most readers surely do not even notice the contradictory statements regarding David’s birthday and the sale of Betsy Trotwood’s Dover home. 5 It is also interesting to compare Moll Flanders’s straightforward acknowledgement of the physical pleasures of life with David and Pip’s difficulty in enjoying them. Not only is there no explicit mention of sex, but eating and drinking are almost invariably uneasy or embarrassing experiences. David Copperfield and Great Expectations 87 dialogue. The lightly satirical style of Pip’s commentary on his sister’s funeral or on the Pocket and Wemmick households differs notably, for example, from his introspective moods. Yet although Dickens sacrifices one kind of verisimilitude here, he achieves another. The variety of tone not only makes Great Expectations a less bitter novel than a mere summary of Pip’s feelings would seem to make it, but also increases our sympathy for the protagonists of both novels by making them seem less self-absorbed. The fact that they do not invariably analyze other people’s behaviour in relation to themselves (as Moll Flanders does constantly and Jane Eyre does with characteristic discretion during the entertainment at Thornfield Hall) both enhances their credibility as objective observers and enables the reader to perceive those people with unfiltered clarity. Of the two novels, David Copperfield is presented more formally as an autobiography, beginning with the protagonist’s birth.
Load more

Recommended publications
  • Emily Finer Dombey in Zhitomir for MLR Sept 2018
    Emily Finer, University of St Andrews Dombey in Zhitomir, Pip in Taganrog: Reading Dickens ‘as if for life’ in Russia Abstract Many Russian writers have been eager to demonstrate their intense childhood attachment to the novels of Charles Dickens. This essay focuses on the narrative strategies used by Vladimir Korolenko (1853-1921) and Nelli Morozova (1924-2015) in their autobiographies to convey the importance of reading Dickens in their formation as writers. It argues that David Copperfield offers a useful model for understanding how Korolenko and Morozova write about reading, and that, rather than distancing Dickens and his characters from their global readership, translations increase proximity and facilitate empathetic readings. Dombey in Zhitomir, Pip in Taganrog: Reading Dickens ‘as if for life’ in Russia It is not surprising that authors describe their early immersion in fictional worlds as positive and even therapeutic in their autobiographies. This essay examines three autobiographical texts, from England, the Russian Empire, and the Soviet Union, focusing on the narrative strategies used to write about childhood reading. In David Copperfield (1850), Charles Dickens describes Davey’s early interaction with novels as an experience both escapist and comforting.1 Vladimir Korolenko’s short autobiographical story, ‘My First Acquaintance with Dickens’ (1912), portrays his first encounter with a translation of Dombey and Son as a catalyst in his development as a reader.2 Nelli Morozova structures her entire 1 Charles Dickens, David Copperfield (London: Nonesuch Press, 1937), p. 54. 2 V. Korolenko, Moe pervoe znakomstvo s Dikkensom (1912) in Sobranie sochinenii v 6 tomakh (Moscow: Emily Finer Page 1 autobiography, My Passion for Dickens: A Family Chronicle (1990), around readings and re- readings of Dickens’s novels in Russian.3 All represent their relationships with characters or authors to be as valuable as actual friendships, to have the potential to be sustained over a lifetime.
    [Show full text]
  • The Heart of London: Charles Dickens and Social Reform
    The Heart of London Charles Dickens and Social Reform HEART OF LONDON, THERE IS A MORAL IN THY EVERY STROKE! as I look on at thy indomitable working, which neither death, nor press of life, nor grief, nor gladness out of doors will influence one jot, I seem to hear a voice within thee which sinks into my heart, bidding me, as I elbow my way among the crowd, have some thought for the meanest wretch that passes, and, being a man, to turn away with scorn and pride from none that bear the human shape. Master Humphrey's Clock (1840) THE LIFE of Charles Dickens (1812-1870) spanned much of the century transformed by the Industrial Revolution, and he witnessed the results, both positive and negative, that impacted England and especially his beloved London. Thousands of people who migrated from rural areas to the capital found a city almost entirely without social infrastructure and lacking the central organization needed to manage such urban necessities as police, fire control, water and sewage, and roads and bridges. The traditional parish oversight was quickly overwhelmed, and it would be the end of the century before many of these problems were properly addressed. The atmosphere, however, was one of progress and the possibilities of reform. Education and therefore literacy were seen as the means to improve the lives of the masses, and the mechanization of printing provided the means to distribute an increasing amount of reading material. The periodical press boomed, generating dailies, weeklies and monthlies that distributed fiction and non-fiction to a voracious reading public.
    [Show full text]
  • Uni International 300 N
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • The Bookcollection of C.F. Hultenheim, Camera Antiqua, in Selection from Ca 4000 Volumes
    THE BOOKCOLLECTION OF C.F. HULTENHEIM, CAMERA ANTIQUA, IN SELECTION FROM CA 4000 VOLUMES Books and prints numbered 1 to 113 was exhibited on The Royal Library´s ”Typographia” sept 10,2000-jan 10,2003. An Exhibition of 20 th Century Typography and Graphic Design Compiled and Edited by C.F. Hultenheim. Litterature: “Typographica, 1900-2000”, Exhibition Catalogue No. 138 The Royal Library Stockholm 2002 1 DANIEL BERKERLY UPDIKE (1860-1941). Printing types, their history, forms and use. A study in survivals. I-II. Full cloth binding. Harvard and Oxford. Printed by the Merrymount Press, Boston 1922. (2). 2 DANIEL BERKERLY UPDIKE (1860-1941). Advertising card for a Boston tea merchant, “The Cup of Human Enjoyment”. Elihu White Foundry New York. In a frame, 15 x 8,5 cm. 4 BRUCE ROGERS ( 1870-1957). Bookplate ”Anne Lyon Haight”. In a frame, 5,5 x 5 cm. 11 JOHN S. FASS (1890-1973). The Hammer Creek Press type specimen book. Number 22 of 100 copies. Paper binding. New York 1954. 12 SAMUEL A. JACOBS (1891-1971). Christmas Tree, E.E. Cummings. Half cloth binding. Published and printed by S.A. Jacobs, New York 1928. 17 RAY NASH (1905-1982). PaGA, Printing & Graphic Arts, 1953-1965. The Stinehour Press, Luneburg. Unbound in box. 22 LEO LIONNI (1910-1999). World Geo-Graphic Atlas. Full cloth binding. CCA, Chicago 1953. 34 THE STINEHOUR PRESS. Goodspeed´s Book Shop, Catalogue 500. Paper binding. Boston 1961. 58 FRANCIS MEYNELL (1891-1975). Ten poems, Alice Meynell 1913-1915. One of 50 copies. Full vellum binding. The Romney Street Press 1915.
    [Show full text]
  • Christine Macgregor's Illustrated Private Press Books
    Christine Macgregor's Illustrated Private Press Books MAUREEN PRICHARD We are waiting impatiently for the telegram which will tell us [Molly] is through her second trial safely.1 With these words Robert Barr Smith (1824-1915) heralded the imminent arrival into this world of his fifth grandchild. The child, named Christine Margaret, was born on 23 January 1890 at Ballengeich, the house her parents were renting at Torrens Park, just two weeks after her grandfather wrote these words. She was the child — the second of six — of Joanna and Robert Barr Smith's son Tom, and his wife Mary Isobel (Molly).2 Christine Barr Smith's grandfather was reckoned in some quarters to be the richest man in Australia. He was certainly one of this state's greatest benefac- tors. One small but relevant example of Robert Barr Smith's generosity is repre- sented in the Library of the University of Adelaide. It was named after him in 1899 in recognition of amounts totalling £9,000 that he had given to it in the previous twenty years, solely for the purpose of the acquisition of books. In all he gave to the University of Adelaide over £21,000 before he died. Christine's fa- ther carried on in his father's footsteps; in all, his gifts to the Library alone to- talled over £55,000, the bulk of that used to finance the original library building. Tom Elder Barr Smith's children inherited the habit of generous giving and service. They also inherited their grandparent's habit of collecting. Joanna Barr Smith (along with her children) was a great accumulator of Morris 8c Co.
    [Show full text]
  • Fine Printing & Small Presses L
    Fine Printing & Small Presses L - Z Catalogue 356 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • Books of the Fine and Private Presses a Catalogue from Buddenbrooks January, 2020
    Books of the Fine and Private Presses A Catalogue from Buddenbrooks January, 2020 (617) 536-4433 - 1 - [email protected] Fine & Private Press Books Cover illustration is adapted from an image in items 16 & 17. To order from this catalogue please contact us by phone, fax or email, or online at buddenbrooks.com BUDDENBROOKS 21 Pleasant Street, On the Courtyard Newburyport, MA. 01950, USA (617) 536-4433 F: (978) 358-7805 [email protected] or [email protected] www.Buddenbrooks.com TERMS l Prices are net; postage and insurance are extra. l All books are offered subject to prior sale. l Bookplates and previous owners' signatures are not noted unless particularly obtrusive. l We respectfully request that payment be included with orders. l Massachusetts residents are requested to include 6.25% sales tax. l All books are returnable within ten days. We ask that you notify us by phone or fax in advance if you are returning a book. l We offer deferred billing to institutions in order to accomodate budgetary requirements. l Prices are subject to change without notice and we cannot be responsible for misprints or typographical errors. We invite you to search for books via our on-line listings at www.buddenbrooks. com. Please remember only a fraction of our inventory is listed at any time. If you are looking for something and you don't find it on-line, please call us to check our full listings or to take advantage of our Search Department. America's Award Winning Bookseller Buddenbrooks has one of the finest selections of fine and rare books in a number of fields, but we are happy to find any books, old or new, for our customers.
    [Show full text]
  • Biography and Autobiography at the Hogarth Press
    Biography and Autobiography at the Hogarth Press by Claire Battershill A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Claire Battershill 2012 Biography and Autobiography at the Hogarth Press Claire Battershill Doctor of Philosophy Department of English University of Toronto 2012 Abstract The subject of this thesis is the biographies and autobiographies published by Leonard and Virginia Woolf’s Hogarth Press between 1917 and 1946. I combine several areas of scholarly inquiry – biography and autobiography studies, modernist studies, book history, and the history of reading – in order to examine the intersections between literary and textual constructions of genre and the role of categorization in the book trade. My central argument is that diversity, as both the policy and the product of the Hogarth Press, allowed a multitude of voices, methodologies, perspectives, and subjects to co-exist at one publishing house and produced a body of works that goes far beyond the small circle of Bloomsbury with which it is usually associated. The variety of the Hogarth Press’s publications meant that its approach to genre was one of hybridity, oscillation, and ambivalence, but one that nevertheless found ways to position complicated works in the category-oriented world of the book trade. Drawing from unpublished archival materials in order to uncover relationships between authors, readers, publishers, booksellers, literary agents, book clubs, and critics, I argue that the Hogarth Press’s practices in publishing biographies and autobiographies informed the Woolfs’ writings about the importance and role of the genres in the context of literary modernism.
    [Show full text]
  • Holiday 2019 Catalogue
    Holiday 2019 BaumanRareBooks.com 1-800-97-bauman (1-800-972-2862) or 212-751-0011 [email protected] New York 535 Madison Avenue (Between 54th & 55th Streets) New York, NY 10022 800-972-2862 or 212-751-0011 Monday - Saturday: 10am to 6pm Las Vegas Grand Canal Shoppes The Venetian | The Palazzo 3327 Las Vegas Blvd., South, Suite 2856 Las Vegas, NV 89109 888-982-2862 or 702-948-1617 Sunday - Thursday: 10am to 11pm Friday - Saturday: 10am to Midnight Philadelphia (by appointmEnt) 1608 Walnut Street Philadelphia, PA 19103 215-546-6466 | (fax) 215-546-9064 Monday - Friday: 9am to 5pm all booKS aRE ShippEd on appRoval and aRE fully guaRantEEd. Any items may be returned within ten days for any reason (please notify us before returning). All reimbursements are limited to original purchase price. We accept all major credit cards. Shipping and insurance charges are additional. Packages will be shipped by UPS or Federal Express unless another carrier is requested. Next-day or second-day air service is available upon request. www.baumanrarebooks.com twitter.com/baumanrarebooks facebook.com/baumanrarebooks Cover: from COOK, Clarence. What Shall We Do With Our Walls? New York, 1880. $1850. Table of Contents 33 17 127 97 57 119 Holiday 2019 4 Selected Items 83 Americana 30 History, Thought & Science 96 Religion 44 The Ancient World 103 Index 58 Literature Selected Items Signed Limited Of A Christmas Carol, One Of 525 Copies Beautifully Illustrated And Signed By Arthur Rackham “A merry 1. (RACKHAM, Arthur) DICKENS, Charles. A Christmas Carol. London and Philadelphia, 1915.
    [Show full text]
  • Summary: the Collection Consists of the Editorial and Production Archives of Random House, Inc
    Ms CollXRandom House Random House. Records, 1925-1992. £9**linearft. (ca.-Q&F,000 items in 1,657-boxes) 13 % SI Summary: The collection consists of the editorial and production archives of Random House, Inc. from its founding in 1925 to the present time. The correspondence and editorial files include many of the most important novelists and short story writers in American and European literature: Saul Bellow; Erskine Caldwell; Truman Capote; William Faulkner; Sinclair Lewis; Andre Malraux; Gertrude Stein and Thornton Wilder. Among the contemporary poets there are files for W. H. Auden; Allen Ginsberg; Robinson Jeffers; Robert Lowell; and Stephen Spender. In the area of theater there are files for Maxwell Anderson; Moss Hart; Lillian Hellrnan; Eugene O'Neill; and Tennessee Williams. Random House transacted business with many fine presses and noted typographers and the archives contain files for Nonesuch Press, Grabhorn Press and Golden Cockerel Press, as well as for Bruce Rogers, Valenti Angelo, and Edwin, Jane, and Robert Grabhorn. The most important book published by Random House was James Joyce's Ulysses. Because of its alleged obscenity, it was only legally admitted into the United States after a long battle by Random House in the courts ending in 1934. The Random House Archives contain letters and documents relating to this famous case. Organized in the following series: Cataloged correspondence; Joyce-Ulysses correspondence;Miscellaneous manuscripts; Cerf/Klopfer files, 1946-1954; 1956-1965; Name file, 1925-1945; Publishers file, 1925-1945; Publishers file, A-Z, 1925-1945; Subject file, 1925-1945; Production/Editorial file, 1927-1934; Random House cataloges; Alfred A Knopf catalogs; Photographs; Nonesuch Press, 1928-1945; Modem fine presses, 1928-1945; Manufacturing dept.
    [Show full text]
  • A Bibliography Selected by Robert Newsom for the 2001 Dickens Universe
    bibliography A Bibliography Selected by Robert Newsom for the 2001 Dickens Universe Note that some items listed here are themselves links. These appear in blue and are marked by underlining. Some links will take you to full-text versions of a work (though not all of these can be viewed from non-UC terminals), others will take you to sites where you may purchase the work and/or read more about it. Links that appear as DJ take you to images of dust jackets. Disclaimer: Don't judge a book by its cover. For an image of the Bleak House wrapper design, click here or on the thumbnail: This a large file (266KB) that may take a while to open. For a map of the Bleak House neighborhood, click here or on the thumbnail: For the summer 2001 reading schedule and discussion and paper topics, click here or on the thumbnail: This is an Adobe Acrobat ® file that requires the Adobe Acrobat Reader to be read. If you do not have the Reader, you may download it for free by clicking here. The MLA Database lists over 400 items on Bleak House written in the past twenty-five years or so, and about 200 of those have been published since the Universe last focused on Bleak House, in 1988. (Anyone interested may view the bibliography compiled in that year by Kelly Hager by clicking here.) Obviously the bibliography offered here is highly selective. http://dickens.ucsc.edu/bibliographies/bleakhousebiblio/BH_Biblio.html[11/22/11 10:40:53 AM] bibliography The Bleak House bibliography immediately below in general becomes more selective the more distant the date of publication.
    [Show full text]
  • DICKENS CATALOGUE Jarndyce
    THE DICKENS CATALOGUE Jarndyce CATA 218.indd 1 09/05/2016 09:59:42 Jarndyce Antiquarian Booksellers 46, Great Russell Street Telephone: 020 7631 4220 (opp. British Museum) Fax: 020 7631 1882 Bloomsbury, Email: [email protected] London www.jarndyce.co.uk WC1B 3PA VAT.No.: GB 524 0890 57 CATALOGUE CCXVIII SUMMER 2016 THE DICKENS CATALOGUE Catalogue: Joshua Clayton Production: Carol Murphy & Ed Lake. All items are London-published and in at least good condition, unless otherwise stated. Prices are nett. Items on this catalogue marked with a dagger (†) incur VAT (20%) to customers within the EU. A charge for postage and insurance will be added to the invoice total. We accept payment by VISA or MASTERCARD. If payment is made by US cheque, please add $25.00 towards the costs of conversion. High resolution images are available for all items, on request; please email: [email protected]. JARNDYCE CATALOGUES CURRENTLY AVAILABLE, price £5.00 each include: Books & Pamphlets 1564-1820. Parts I & II; The Museum: Jarndyce Miscellany; Conduct & Education; Anthony Trollope, A Bicentenary Catalogue. The Romantics: A-Z, with The Romantic Background (four catalogues); JARNDYCE CATALOGUES IN PREPARATION include: Bloods & Penny Dreadfuls; European Literature in Translation; Books & Pamphlets: 1600-1800; English Language; 19th Century Novels. PLEASE REMEMBER: If you have books to sell, please get in touch with Brian Lake at Jarndyce. Valuations for insurance or probate can be undertaken anywhere, by arrangement. A SUBSCRIPTION SERVICE is available for Jarndyce Catalogues for those who do not regularly purchase. Please send £20.00 (£30.00 / U.S.$55.00 overseas, airmail) for four issues, specifying the catalogues you would like to receive.
    [Show full text]