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Rob Allen Phd March 2012 V.1.1 No Pages UvA-DARE (Digital Academic Repository) Paratext, serialisation and authorship in Victorian England Allen, R.G. Publication date 2012 Link to publication Citation for published version (APA): Allen, R. G. (2012). Paratext, serialisation and authorship in Victorian England. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 Chapter 2: “Boz Versus Dickens”: Paratext, Pseudonyms and Serialisation in the Victorian Literary Marketplace Introduction Dickens’s success as an author began with a series of sketches written from 1833-36. Published in a range of London newspapers and magazines, these sketches were praised for their humour and for capturing everyday urban life. The full title of the first volume edition, Sketches by Boz: Illustrative of Every-Day Life and Every-Day People (1836), and the assertion that the sketches “present little pictures of life and manners as they really are”, emphasised the work’s fidelity to contemporary experience (Dickens 1994: xxxix). Yet this insistence on faithful mimesis revolved around the fiction of a pseudonymous author called Boz. Emerging in 1834 as a way of labelling sketches scattered across the London periodical press, Dickens’s fictional pseudonym became, paradoxically, the marker for an authorial voice noted for its accurate representation of the metropolis. The use of the pseudonym allowed Dickens to maintain a respectable distance between his own name and a literary experiment he was hoping might supplement his income. Under the guise of Boz, Dickens could unify the sketches he was producing and build on the popular reception they received. Yet, by keeping a careful separation between pseudonym and real name, Dickens could ensure his foray into authorship would not endanger his professional career as a well respected court reporter (Chittick 57). Kathryn Chittick has observed that Dickens did not simply emerge as a novelist with the publication of his first serial between 1836-37 (Chittick ix). His career began with sketches attributed to his pseudonym Boz, which, from 1834-36, functioned as a textual label specifying the name of an otherwise unknown authorial figure.5 Due to the specific conditions of their original publication, these sketches were unsupported by the kind of paratextual elements, such as illustrations, frontispieces, dedications, prefaces and portraits of the author that would subsequently accompany the volume 5 A situation aptly described by Gérard Genette when he discusses one of his seven categories of pseudonymity in which “a real author attributes a work to an imaginary author but does not produce any information about the latter except the name” (Genette 1997: 478). 44 editions of Dickens’s work. The purpose of this chapter is to examine how, from 1836-39, the relationship between the pseudonym, Boz, and the real author, Charles Dickens, was staged in the paratext to work attributed to both of them. Gérard Genette defined paratext as that which “enables a text to become a book and to be offered as such to its readers” (Genette 1). Characterising the nature of this offer by metaphors of thresholds, vestibules and airlocks, Genette suggested that such transitional mechanisms provide “a better reception for the text and a more pertinent reading of it” (Genette 2). The assumption of this study is that the paratextual elements of a literary work also serve to create or modify the image of the author responsible for it. As Genette’s consideration of the “pseudonym effect” suggests, such authorial representation is the province of the paratextual, a bibliographic “apparatus” that conjures, describes and positions “imagined author[s]” in relation to the body of work that comes to be grouped around their invented names (Genette 48-9). The Emergence of Boz Dickens’s early work, from Sketches by Boz (1836) to Nicholas Nickleby (1838-39), was accompanied by the “paratextual apparatus” substantiating the existence of Boz and presenting him as what Genette calls “an imagined author” (Genette 48). The written correspondence between Dickens and his publishers during these years reveal an author sensitive to the implications of paratextual choices especially in regard to how they affected representations of authorship. In a letter of 1836 to his publisher, John Macrone, Dickens tried to steer the former away from using “bwain” in the title to the latter’s first book. The author offered two other possibilities: “Sketches by Boz and Cuts by Cruikshank” and “Etchings by Boz and Wood Cuts by Cruikshank (Dickens 1965: 82). Both of Dickens’s proposed titles incorporated the pseudonymous author, Boz, and the named illustrator, George Cruikshank. Proposing these titles, Dickens added: “I think perhaps some such title would look more modest —whether modesty ought to have anything to do with such an affair, I must leave to your experience as a Publisher to decide” (Dickens 1965: 82). Macrone finally settled on Sketches by Boz: Illustrative of Every-Day Life and Every-Day People, which was 45 first published in February 1836 for a guinea. This two-volume edition was illustrated by George Cruikshank, a famous illustrator of “London street scenes”, which meant that Macrone could at once “capitalize on Dickens’s growing reputation and Cruikshank’s already established one” (Patten 1978: 29). In February 1836, after the final work on the volume’s plates had been completed, the author sent the illustrator a letter, which “rejoiced” that they were so close to “the termination of our labours in Boz’s cause” (qtd. in Patten 1978: 30). It was as Boz that Dickens addressed readers in the preface to this edition, which began with a startling comparison: In humble imitation of a prudent course, universally adopted by aeronauts, the Author of these volumes throws them up as his pilot balloon, trusting it may catch some favourable current, and devoutly and earnestly it may go off well—a sentiment in which his Publisher cordially concurs. (Dickens 1994: xxxix) It is interesting to note how Boz invokes the idea of an aerial panorama (see fig. 3) in his first paratextual description of authorship. The expensive volumes are transformed from a literary and visual product into a “pilot balloon” sent up “as a prudent course” to see if it “may catch some favourable current”. Letters from Dickens to Macrone leading up to the publication of this volume reveal that Dickens was well aware of the experimental nature of the venture and the risk his publisher was taking (Patten 1978: 30). In his preface, Boz notes the cordial relationship between author and publisher before developing the metaphor of the “pilot balloon” so that it includes a “car” into which Boz precariously places not only himself but also “all his hopes of future fame”. Discussing the “perilous voyage” he is taking in such “a frail machine”, Boz notes the “assistance and companionship of some well-known individual”, the illustrator George Cruikshank, observing that although this “is their first voyage in company” it may “not be the last”. 46 Figure 3: Cruikshank’s engraved title page to the second series of Sketches by Boz (1836).6 Source: Reproduced in Dickens 1994. The preface ends with an acknowledgement of the experimental nature of the volume and the author’s hopes “to repeat his experiment with increased confidence, and on a 6 Note that the image echoes the reference to “pilot balloon” in Dickens’s preface to the first edition of Sketches by Boz. 47 more extensive scale” (Dickens 1994: xxxix). This focus on the possible future efforts of Boz would have been particularly relevant to Dickens at the time he wrote the preface, as he had recently signed a contract with Chapman and Hall to provide letterpress, as Boz, for what would become The Pickwick Papers. Due to publish a new serial in just under two months from the date of the preface, it seems that Dickens was using the publication of a volume edition of sketches by Boz to prepare the public for the forthcoming serial which would be “Edited by Boz.” In August 1836, the second edition of the first series of Sketches by Boz was published with a preface ironically informing readers that they were “guilty” if Boz produced more work because they had encouraged a “young and unknown writer, by their patronage and approval” (Dickens 1994: xl). This statement configured Boz as a biographical individual (“young” and “unknown”) and as a “writer” whose future work was dependent on the positive reaction of the reading public. The preface also suggested that Boz, the writer of sketches, might turn his hand to more serious work: If the pen that designed these little outlines, should present its labours frequently to the Public hereafter; if it should produce fresh sketches, and even connected works of fiction of a higher grade, they have only themselves to blame. (Dickens 1994: xl) From a writer of urban sketches in London periodicals, Boz was now presented as an aspiring novelist whose prospective career emerged from the public’s recent reaction to his work.
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