This ninth volume presents about 1,100 letters, many unpublished, from the years 1859 to 1861. It records the writing of two major novels, A Tale of Two Cities and Great Expectations; the planning and writing of a substantial amount of the three Christmas numbers of this period, `A Haunted House', `A Message from the Sea', and `Tom Tiddler's Ground'; and the establishment of All the Year Round as a new journal to succeed Household Words. It also shows Dickens's delight with his new Kentish home, Gad's Hill.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Letters Of Charles Dickens: 1836-1870; Volume 3 Of The Letters Of Charles Dickens; Charles Dickens Charles Dickens, Georgina Hogarth, Mary Dickens Chapman and Hall, 1882

This book marks a new departure in the study of Dickens. The authors make use of first-hand evidence of Dickens? actual methods and conditions of work; much of this evidence is examined and co-ordinated here for the first time. It includes Dickens? detailed manuscript notes for novels, with a complete transcript of these for every instalment and chapter of David Copperfield. Seven other books are chosen, so that the different stages of his career and different kinds of work are well represented. The volume illustrates what modes of planning Dickens evolved as best suited to his genius and to the demands of serial publication, monthly or weekly; how he responded to the events of the day; and how he yet managed to combine the freshness of this "periodical," almost journalistic approach with the art of the novel.

From reviews of volume five "The appearance of a volume of the Pilgrim Edition of Dickens's letters is an event of great moment in the world of English literary scholarship.... Indispensable to the scholar and of absorbing interest to the general reader."--English Studies. "Any true admirer of Dickens ought to be left both stunned and delighted by the wealth of material in this fifth volume of the monumental Pilgrim Letters."--The Dickensian. "Generous in scope, diverse in subject matter, rich in annotation, the work is a central resource not simply for devotees of Dickens but for students of virtually every aspect of 19th-century civilization."--Nineteenth-Century Fiction. The sixth volume features 1,592 letters--668 of them previously unpublished--covering 1850 to 1852, years of great creativity in which Dickens finished David Copperfield, and began work on BleakHouse.

The book has no illustrations or index. Purchasers are entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Subjects: Literary Criticism / General; Literary Criticism / European / English, Irish, Scottish, Welsh; Fiction / Classics;

This book marks a new departure in the study of Dickens. The authors make use of first-hand evidence of Dickens' actual methods and conditions of work; much of this evidence is examined and co-ordinated here for the first time. It includes Dickens' detailed manuscript notes for novels, with a complete transcript of these for every instalment and chapter of David Copperfield. Seven other books are chosen, so that the different stages of his career and different kinds of work are well represented. The volume illustrates what modes of planning Dickens evolved as best suited to his genius and to the demands of serial publication, monthly or weekly; how he responded to the events of the day; and how he yet managed to combine the freshness of this "periodical", almost journalistic approach with the art of the novel.

This collection of lectures, broadcasts, reviews, and articles (several of which have not previously been published) embraces many aspects of the English literary scene in the middle of the nineteenth century. Though various in origin the collection has this unity: it has been the constant concern of its authors for many years that the great and lasting contribution of the mid-Victorian period to our literature should be fully vindicated, and its appraisal based upon secure foundations of critical scholarship. The book has moreover an obvious connection with the volume on the mid-nineteenth century which the Tillotsons are preparing for the Oxford History of English Literature, though the items included here are not samples of that history but rather 'milestones, or halting places, in the several ways that lead towards it'. There are important studies of Carlyle, John Henry Newman, Tennyson, Clough, Matthew Arnold, and George Eliot. These, however, represent only one side of the book's interest, for there are accounts of writers famous in their day, as Harriett Mozley and Charlotte M. Yonge, but since the cross-currents at work in the period, notably 'Writers and Readers in 1851', which vividly convey much of the quality of the momentous years in which so many masterpieces were produced. At several points indeed the volume demonstrates that the truth about the literature of the nineteenth century, in distinction (for the most part) to that of earlier centuries, may be recovered complete.

This concluding volume covers the final two and a half years of Dickens's life: his reading tours in America and around England, the writing of Edwin Drood (left unfinished on his sudden death), and his characteristic involvement in scores of different interests and in writing to literally hundreds of correspondents. Also included are a large gathering of letters and items of new information which came to light too late for earlier volumes, an index to the present volume, and a cumulative Index of Correspondents.

This eleventh volume presents 1158 letters, many previously unpublished or published only in part. Dickens's main work in the period is the completion of the monthly parts of Our Mutual Friend; unusually, it comes out in two volumes (January and November 1865) during the period of its run. The three All the Year Round Christmas numbers, `Doctor Marigold's Prescriptions', `Mugby Junction', and `No Thoroughfare' (written jointly with Wilkie Collins) are again highly successful. The most dramatic event in this volume is the railway accident at Staplehurst, Kent, on 9 June 1865, in which he is involved on returning from France, accompanied by Ellen Ternan and her mother. He gives two provincial reading tours, in 1866 and 1867, besides frequent readings in London, and on 9 November 1867 sails from Liverpool to Boston, to begin his American reading tour.

This volume presents 918 letters, 435 previously unpublished. Our Mutual Friend, Dickens's main work in this period, comes out monthly from 30 April 1864 to 31 October 1865. The three highly successful All the Year Round Christmas numbers, "Somebody's Luggage", "Mrs. Lirriper's Lodgings" and "Mrs. Lirriper's Legacy", take up much of his energies. Public readings continue, though less frequently; and Gad's Hill, where he entertains many of his friends, plays an increasingly major part in his life. But there is no other period in which he visits France so often, generally alone. The deliberately mystifying language he uses about these visits suggests he was seeing Ellen Ternan there, but there is no evidence to prove it.

This volume covers one of the most interesting period's of Dickens's life - his involvement with the young actress Ellen Ternan, separation from his wife, and his new `career' of public readings of his novels.

This volume presents 1,251 letters, 447 previously unpublished, for the years 1853 to 1855; it also includes, as a substantial Appendix of Addenda, over 280 letters of the years 1831 to 1852 which came to light too late for earlier volumes. The period is one of activity remarkable even for Dickens. Besides the continuous editing of Household Words (where his Hard Times appears as a weekly serial), he is still at work on Bleak House until August 1853 and in 1855 is writing the early numbers of Little Dorrit. He manages and acts in children's plays in his little Tavistock House theatre on Twelfth Night, and later takes the leading part in Wilkie Collins's drama The Lighthouse with great effect. Work with Miss Coutts and the troublesome inmates of her `Home' increases, and readings for charity have begun. The Crimean war and the government's mismanagement receive much comment in letters and satirical articles, and lead to one exceptional venture into political life with a speech for the Administrative Reform Association. But his long and happy periods of residence in France with his family encourage a more detached view, and he also revisits Switzerland and Italy on a two-month tour with Collins and the painter Augustus Egg. Friends and family still dominate his personal life, but for a few weeks long-past emotions are revived when he hears from his old love Maria Beadnell, now a middle-aged Mrs Winter.

Oliver Twist is a classic tale of a boy of unknown parentage born in a workhouse and brought up under the cruel conditions to which pauper children were exposed in the Victorian England. With this novel, Dickens did not merely write a topical satire on the workhouse system and the role of the 1834 New Poor Law in fostering criminality. He created a moral fable about the survival of good, a romance, and a gripping story in which he exploited suspense and violence more effectively than any of his contemporaries. The new Oxford World's Classics edition of Oliver Twist is based on the authoritative Clarendon edition, which uses Dickens's revised text of 1846. It includes his preface of 1841 in which he defended himself against hostile criticism, and includes all twenty-four original illustrations by George Cruikshank. Stephen Gill's groundbreaking introduction gives a fascinating new account of the novel. He also provides appendices on Dickens and Cruikshank, on Dickens's Preface and the Newgate Novel Controversy, on Oliver Twist and the New Poor Law, and on thieves' slang.

This book examines four novels and contemporary views about novels which can contribute to a fuller understanding of the great English novels of the 1840s. The novels chosen for this study are of the 1840s as well as for all time. English novels of the 1840s are particularly interesting because it was during this period that the novel was in the process of becoming the dominant form and it was during this same period that critics began to say what they continued to say more forcibly for the next forty years or so.