The Oxford Edition of Charles Dickens – serie
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The Uncommercial Traveller is a remarkable display of creative journalism from Dickens's final decade, balancing Sketches by Boz at the beginning of his career. The 37 short papers, which first appeared in his weekly journal All The Year Round, offer sensitive and penetrating perspectives on London, Britain, and France in the 1860s. In the company of the Traveller, readers undertake a series of journeys. We visit the scene of a disastrous shipwreck on Anglesey, the docklands at Liverpool, and the Chatham dockyard. We accompany the Traveller as he returns to the scene of his early childhood in 'Dullborough'. We cross the Channel in atrocious conditions, and we explore 'the French-Flemish country'. Twice, we join the local crowds for the gruesome entertainment offered by the Paris morgue. Nearer to Dickens's Covent Garden base we attend a popular theatre for a performance and a Sunday sermon. We visit a children's hospital, a lead factory, and a naval school. We tramp the city by night. We have repeated problems with restaurants. We hear weird stories, meet odd characters, and much more.Full of humour, sentiment, quirkiness; supremely assured in their command of style; astonishingly varied: these papers take a worthy place alongside the Dickens's late fictional masterpieces Great Expectations and Our Mutual Friend. This is the first fully critical edition of The Uncommercial Traveller, based on detailed study of the surviving densely worked manuscripts and the early printed texts. The edition includes a full analytical essay, textual notes, and detailed explanatory notes, as well as a glossary of unusual terms and words used in senses likely to be unfamiliar to modern readers.
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The Oxford Dickens edition of Pictures from Italy puts the spotlight on Dickens's 'little book' describing his travels through Italy in 1844 and 1845. Throughout, Dickens offers his withering reviews of Italian masterpieces, his staunch criticism of Catholicism in Rome, tempered with a genuine love and admiration for the people of Italy and the country's rich cultural heritage. This is the first full critical edition of the work, with detailed research outlining its composition and form, and comparisons made between all editions produced during Dickens's lifetime. First written as personal letters, then printed as newspaper correspondence, then reshaped once more into a single book, the evolution of Pictures from Italy provides a fascinating insight into Dickens's creative and editorial process. Pete Orford's introduction puts the work under the microscope to track the changes made across these several iterations and uncover the story of its genesis and development. Analysis of the few remaining manuscript pages and Orford's own travels through Italy help to unpick several mysteries of the text. Previous editions of the work have been for general readership with critical essays that focus on the time Dickens spent in Italy (1844-5). This edition offers a different approach, supplementing this familiar story with the lesser discussed period of 1846 when Dickens, back in London, first turns his various letters into newspaper correspondence, then a monograph, whilst battling the pressures of launching a daily newspaper and planning a new novel. Dickens's time in Italy defines the content of the book, but it is his subsequent time in London which defines its shape and structure.This edition reproduces in situ the original illustrations provided by Samuel Palmer for the first edition of 1846, with further illustrations provided for subsequent editions contained in the appendices.
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Sketches by Boz, the first volume of the new Oxford Dickens, was also the title of Dickens's first book. It is a collection of sixty pieces, mostly humorous although there is nothing funny about 'A Visit to Newgate', which first appeared as contributions to magazines and newspapers in the mid 1830s. They are distinguished by his sharp and often satirical observation of social situations and London characters; but, with one exception, they are works of fiction. Fourteen can be described as short stories, but most are sketches presented to us as reportage. They show why Dickens was recognised as a brilliant new talent from the outset of his career.In the absence of any manuscripts, the text of each piece (with one exception) is based upon the first published version. They offer Dickens as he appeared to his very first readers in the mid 1830s, and as he has not been seen since. Dickens edited later editions, cutting contemporary references, oaths and sexual innuendo. The consequence of reading Dickens as he was is startling, for these pieces both offer a direct reflection of the social scene in London of the period, and have a raciness which Dickens excised from later printings. This work rediscovers the young Dickens.