Focusing on the language, style, and poetry of Dickens' novels,
this study breaks new ground in reading Dickens' novels as a unique
form of poetry. Dickens' writing disallows the statement of single
unambiguous truths and shows unconscious processes burrowing within
language, disrupting received ideas and modes of living. Arguing
that Dickens, within nineteenth-century modernity, sees language as
always double, Tambling draws on a wide range of Victorian texts
and current critical theory to explore Dickens' interest in
literature and popular song, and what happens in jokes, in
caricature, in word-play and punning, and in naming. Working from
Dickens' earliest writings to the latest, deftly combining theory
with close analysis of texts, the book examines Dickens' key
novels, such as Pickwick Papers, Martin Chuzzlewit, Dombey and Son,
Bleak House, Little Dorrit, Great Expectations, and Our Mutual
Friend. It considers Dickens as constructing an urban poetry, alert
to language coming from sources beyond the individual, and relating
that to the dream-life of characters, who both can and cannot awake
to fuller, different consciousness. Drawing on Walter Benjamin,
Lacan, and Derrida, Tambling shows how Dickens writes a new and
comic poetry of the city, and that the language constitutes an
unconscious and secret autobiography. This volume takes Dickens
scholarship in exciting new directions and will be of interest to
all readers of nineteenth-century literary and cultural studies,
and more widely, to all readers of literature.
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