Charles Dickens Books

I grew up listening to this audiobook and I have adored Nickleby ever since. Siberry's narration and character voices are superb, particularly his Yorkshire accents. The eccentricities of Dickens' characters are truly accentuated by the narrator's character voices, making this audio version of the story a truly delightful experience. If only it weren't abridged! It's still a worthwhile buy, particularly if you don't have the time or energy for the 800+ page novel.

Nicholas Nickleby might not be the best book ever written (certainly some other book wins that prize (and it is likely that that book is widely available)), but it is still worth reading. It is long, yes, but it has plenty of things to recommend it: interesting characters, comic interludes, and a touching (if a bit sentimental conclusion). Perhaps the book's main problem is that Nicholas Nickleby (the character, not the eponymous book) is a bit too good. His character doesn't change, and his probity can become annoying. One imagines that Dickens could have fixed this shortcoming quite easily: he could have had Nicholas drink a bit too much and stagger around; he could have had Nicholas pick the pocket of some Londoner (he needs money, after all); he could have given Nicholas a hook for a hand (a device he used to great effect in a later novel); he could have had Nicholas use a few bad words (which perhaps is unlikely given that Dickens wrote in the 19th century, though one might suggest that an editor could jazz up a new edition); or any other numerous things. As it stands, Nicholas is the least interesting character. It's a good thing that many other characters (e.g. Newman Noggs, Ralph Nickleby, Mulberry Hawk, Smike, Wakford Squeers (Jr. and Sr.), Mrs. Nickelby, Vincent Crummles, and pretty much every other character other than Nicholas himself) carry the book. Except for Nicholas' sister; she's too good as well. In fact, one of the more annoying aspects of Dickens work is his brother-sister pairs (see Dombey and Son, Hard Times). Still, you should read this book.

This is a great book. Bought it for my brother-in-law in Dallas, an avid book lover. He loves the book and this hardcover edition looks sharp as well.

This is a very funny novel in some sections. Imagine an older Oliver Twist, about 19 or 20 or so, but handsome, and with a temper, and with a strong outgoing personality, and one who can act and do all kinds of things. He has lots of self confidence and a beautiful sister, and throw in an obnoxious and rich uncle and a dotty mother. Yes, it is very, very entertaining.

I bought the Wordsworth Classic version but would recommend the Penguin Classic version, and recommend that purchase highly. This is among Dickens's somewhat forgotten novel but still among his best. It is another masterpiece that brings together all of Dickens's writing skills with a great story. I would rate it slightly behind David Copperfield but it remains one of the most original and interesting of Dickens's novels somewhat on par with Oliver Twist.

As background information, I am in the process of reading most of Dickens's 22 novels and longer short stories, and set up a Listmania list. As a suggestion, avoid the Penguin Popular Classics with the plain green covers (I bought two). They fall apart and do not stand up to a read, especially books over 500 pages in length. The Regular Penguin Classics with the photo or painting on the front are excellent and some have maps and illustrations (drawings). The Wordsworth Classics are not as good, and some are illustrated.

A young Dickens at the age of 12 had the unenviable job of attaching labels 10 hours a day at the Warren's boot blacking factory. That experience shaped much of his writing career. Still in his teens he became a law clerk, then later in his twenties a journalist. The last job as a reporter led to the serialized writing of his novels. His works were social commentaries with larger than life characters, or colorful caricatures, living in the slums of London. He was a critic of poverty, social injustice, and the slow moving court system.

All of Dickens's experiences come together in his novels. The Pickwick Papers, his first novel, is mostly humorous. But the next one, Oliver Twist, is a dark novel set in the crime plagued streets of early 19th century London. Next in novel number three, he changes back to a more humorous novel which is the present work. This is a big novel, about 750 pages or so - but the pages fly by. The protagonists are Nicholas, who is almost 20, his sister Kate, a few years younger, and his uncle Ralph Nickleby. Their father has died and Nicholas and Kate come to London with their mother to seek aid from the wealthy uncle. The uncle finds them minimum paying jobs, and that creates a good story. It is a novel with many common features that we expect from Dickens with things such as a school where the children are beaten, but it has many funny parts and it is complicated by the uncle's financial dealings.

Having read many of Dickens's novels I still rate David Copperfield as best as a work of literature and rate Oliver Twist as close behind and a must read. The latter book was read by Queen Victoria and Karl Marx, and both enjoyed the read. The novel had a far reaching social impact. Nicholas Nickleby is another gem and well worth the read, but lacks the social bite of Oliver Twist, and lacks the enthusiasm of David Copperfield, but it is hilarious.

Charles Dickens is my favorite author and this is another excellent story! I have all his books, and they are all well-written, entertaining and intellectual. I love how people are his subject and he is a master of words. Every person ought to read Dickens if only for the understanding of grammar you will receive.

No, you fool, he's not. David Copperfield is a masterpiece of a novel and truly my favorite classic work.

I have a very old edition of this book and not this one, but do not read the abridged version. What perfection in writing is being cut to give you a faster read?

I have been hooked on Dickens since I was 18 and read Great Expectations. I thought, "Oh, it can't get better than this," but it did. I won't go into a long, boring retelling of this book, which only detracts from the genius of it, but I will tell you, Charles wrote these characters so well, I felt as if we were dear friends.

At the end of the book, I tried to make a page last as long as possible. Upon completion, I was in tears. My husband asked, "Sad ending, eh?" I said, "No, it's not that ... it's just that I feel like I've lost some good friends. I had dinner with them, sat in the study with them, and now it's over." This above all else is good writing to me ... when you feel so deeply connected with the characters and story that you are THERE. You are not in bed or your living room any longer, but transported to England and sharing some tea with good friends. You want the friend to triumph and you hold onto every word until the end.

Don't let the length or the idea of a classic novel dissuade you. They are classic because they are simply the best in what writing has to offer then AND now.

This is a great classic novel full of wonderful insights of human nature and humorous notions from David's viewpoint. It shows how people do better when treated better, something very worthwhile for people to read nowadays when overly strict discipline has been transferred to overly diagnosed mental illnesses and medication for this. This shows a believable resilient child, though in unusual circumstances for modern times, children are normally resilient to hardships, as well as adults. The difference between the way David is treated by the Murdstones and cruel teachers as opposed to how he is treated well by his Aunt Betsy and good teachers show how much a difference kind treatment to people makes.

This is Dickens's best and it is on par with other great novels such as Anna Karenina, Pride and Prejudice, Madame Bovary, etc. In short, it is a masterpiece that brings together all of Dickens's writing skills with a great story.

As background information, I am in the process of reading most of Dickens 22 novels and longer short stories. I bought the Penguin Popular Classics version of the novel. It is very basic and comes in a simple green cover. It contains no introduction or analysis, just the text plus a very brief historical sketch of Dickens. It seems to be an excellent value for the money and I bought three Dickens novels in the series. I was a bit disappointed in that the book seemed to fall apart as I read it: the binding seemed very weak and cheaply made. After this bad experience, I bought other versions of Dickens's works - Wordsworth Classic versions, the regular Penguin Classic versions, the ones with the photo on the covers, and others.

Charles Dickens, who lived from 1812 to 1870, is the best know male English writer of the 19th century. He authored 22 novels plus numerous short pieces. Most of his writing was first written in serialized form, later published as single novels.

A young Dickens at the age of 12 had the unenviable job of attaching labels 10 hours a day at the Warren's boot blacking factory. That experience shaped much of his writing career. Still in his teens he became a law clerk, then later in his twenties a journalist. The last job as a reporter led to the serialized writing of his novels. His works were social commentaries with larger than life characters, or colorful caricatures, living in the slums of London. He was a critic of poverty, social injustice, and the slow moving court system.

All of Dickens's experiences come together in David Copperfield. The story has many biographical elements in it: a young man forced to take a job in a factory, attendance at a difficult school, working in a law firm, being a reporter, etc. The book was the author's favorite because of all of these biographical elements. The novel is twice as long as Great Expectations and has a wonderful set of characters, a good story, and it is a compelling read. It is clear from reading the novel that Dickens has put a lot of enthusiasm and creativity into writing the novel and into the creation of many memorable characters such as Edward and Jane Murdstone, Wilkins Micawber, Uriah Heep, Tommy Traddles, Mrs Trotwood, etc. Readers will not be disappointed.

Having read many of Dickens's novels I still rate David Copperfield as best as a work of literature and for entertainment value.

This book was a slight drag at first in the first part, but the ending is remarkable and sheds a new light on charles Dickens' work. It is sure a masterpiece. Its portrayal of love, death, hope, misery, and so much more is quite striking. It is definitely one of the best books I have ever come across.

While I admire anyone who can write 800+ pages with an overarching theme (the discipline of the heart), and while I also consider Dickens to be one of my favorite writers of all time, I was very disappointed in this book. It ultimately comes down to three main story lines: (1) the events regarding Uriah Heep, (2) events regarding Emily, and (3) events regarding David finding love. Maybe in 1850 it was a big deal, but reading 800+ pages to find out that Emily ran off with an egoist isn't exactly stimulating, nor is plowing through only to find out Uriah Heep is a scoundrel. Sure, the last couple of pages are nice with David and Agnes, but I'm not sure it makes the book worth reading.

I'm really not sure how Dickens could consider this character his favorite. Copperfield is the consumate pushover and patsy. Instead of doing something, anything, to defend the abuse/neglect of his mother and himself when coming across the Murdstone's in later years, he does absolutely nothing. His main event with Uriah is a slap in the face. It's almost like David Copperfield was Boy George placed in the 1900's.

But, if you have several hours to spend on the pursuit of being so bored you want to contemplate suicide, I would highly recommend this book.

This is one of the best Dickens novels I have ever read. The character of Florence is so beautifully developed, and while I was reading, I got the sense that Dickens himself was in love with Florence. There's also that sense of mystery, in the dealings of Mrs. Brown and Alice, and their hatred of Mr. Carker. This book is full of surprises, and I was kept riveted to every single page. This is definitely a book that I would recommend to anyone, and one that I will be reading again and again.

Upon finishing Dombey and Son this morning, I thought back to the first Dickens work I ever read, which was David Copperfield, as a freshman in high school. Since then I have read many others, all with the same extensive cast of characters, side plots, etc.....

Except this one....which makes me question why it is not used as an introduction to the works of Dickens in school curriculums.

Dombey and Son, as a title, refers to the business which provides wealth, title, and position to Mr. Dombey, the aforementioned father. The 'son' refers to a succession of partners in that business, as well as an arrival at the opening of the book, which leads to the demise of Mrs. Dombey. But little Paul Dombey, sharing in his father's first and last names, joins an already present sibling in the world, his sister Florence.

Through the course of the novel, you realize that Dombey and Daughter are really the focus of this story....the fortunes and misfortunes that befall them both, the grievous neglect of one for the other, despite the efforts of the one neglected to reconcile...and a host of others that enter and exit from their lives.

But to recapture and jusitfy my initial point, this book is a marvelous starting point to read Dickens. It is far easier to keep track of the cast of the story, as it is more limited than other Dickens novels, while sharing the same length as most others. The story lines all really do feed into the central plot, and while the 'comedy' that I so enjoy in Dickens's prose is, admittedly, more limited here...it still is a highly enjoyable tale, and a great place to get your feet wet with one of history's best tale-weavers.

Although bittersweet and melancholy in tone, for the majority of the story, Dombey and Son holds up with Dickens's other novels as a true classic.

Dealings with the Firm of Dombey and Son, published from 1846 to 1848 is, like many of Charles Dickens' novels, a tome. But, since it is over 1,000 pages (or if that is just this copy) we can consider it a true tome. Like War and Peace, The Brothers Karamazov or The Count of Monte Cristo.

That's all I have to say since I have never read the book. I am a huge Dickens fan and I would like someday to read this tome.

Dombey and Son is a long novel dealing with Mr. Dombey an affluent merchant who has a family in crisis. Dombey's first
wife dies giving birth to little Paul who dies early in chapter 16 in a moving and symbolic deathbed scene. His daughter Florence is shunned by her father but is loved by Walter Gay a sailor employed by her father's firm. Colorful characters populate the many pages of this classic: Captain Cuttle and Sol Gillis who befriend Florence; the evil Mr. Carker and many others who appear in the lives of the Dombeys.
This novel written in 1846 is more thematic, well plotted and serious than many of Dickens earlier works. Dickens had a cinematic imagination; the tale of Mr. Carker's flight is riveting. While not my favorite of the master's works this is a
great book with great characters and story. Well worth the time
to read it and absorb its lessons regarding pride and the need for love and beauty in the human soul.

I just finished reading this gargantuan tome today after two weeks of diligent reading. It is second only to "David Copperfield" in my opinion. It is easy to be intimidated by a book this size (almost 1000 pages) but you must give this one a try! If you adore books that revolve around family dysfunction, this one is perfect for you. It's got characters you will love to hate and it is replete with genuine mysteries. If you have read "Oliver Twist," you will be glad to know that this story's good characters are a little less flat and boring.

As with Henry Fielding's "Tom Jones," there will be a few lulls here and there. In a story of this magnitude, it is hard to avoid...but there are not many. This is truly an enjoyable read. Be sure to get a copy that contains drawings by "Phiz"-- they really add to the overall story.

This book provided some interesting content not available in a normal history of English, but I would not have bought the book, if I had seen it in a normal bookshop on the street. It has been quite some time since I last bought a mass-market paperback. I did not expect a non-fiction book to be a mass-market paperback: all other such books I bought were trade paperbacks. In fact, the printing is even worse than some of the old cheap fictions I bought, with many pages looking blurred.

After getting this book, I decided I need to make some calculation before I buy a book on-line next time. I will calculate:

grams-per-page = weight-in-ounces * 28.35 / pages

or

grams-per-page = weight-in-pounds * 454 / pages

I will stop if grams-per-page is less than 1. This book gets 0.82, while most of my books get a number greater than 1.2.

The authors offer great information about the history of English if you can decipher the long-winded explanations. I would not recommend this book for undergrads unless they have a grasp of historical mapping and civilizations.

How can we be expected to take a volume on the English language seriously when its first two sentences (trying to make the point that when we sent a message to the space aliens, we did it in English) read:

"On 5 September 1977, the American spacecraft Voyager One blasted off on its historic mission to Jupiter and beyond. On board, the scientists, who knew that Voyager would one day spin through distant star systems, had installed a recorded greeting from the people of the planet Earth."

The authors' point isn't even valid. The message was in English because an English-speaking country launched Voyager, not because English is a consensus language for extraterrestrial communication. Not only that, the message was not recorded by a native English speaker, but by the Austrian Nazi Kurt Waldheim. Those onboard scientists will have some explaining to do when they meet ET.

This book first appeared in 1986 in connection with a British TV series run in the US on PBS. While I've not seen the TV shows, the book at first take reads like a transcript, focussing in on particular individuals to support generalizations, as would a news crew or documentary film maker. The angle of approach is also slightly odd, in the circumscribed manner typical of History Channel TV specials and BBC multi-part documentaries. This means losing both breadth and depth in favor of concentrating on interesting peculiarites or visually arresting features of the subject at hand. In this case it works, because the history of English is too large a topic for either a book or a nine-part TV series. Instead, we get something that tantalizes even as it fails to satisfy.

Although the book lists three authors, it seems primarily to be the work of McCrum. I say that having just finished his bio. of P.G. Wodehouse. Twenty years ago he was editorial director for British publisher Faber and Faber; currently he is an editor at the Observer. Both of these books are maddening to the reader for the same reasons: he glancingly alludes to things no one knows, and then hammers on things everyone does. An example is the Irish "troubles". While it's extremely illuminating to find out that the Scottish highlanders were actually Irish and the lowlanders Scots-Irish, some brief background would help ground the many dropped names of Irish and English politicians, at least for American readers who may have come late into the discussion.

It's also clear that McCrum styles himself as a "liberal", whatever he means by that tag, since he is incapable of referring to "conservatives", equally undefined, except in terms of abuse. In the epilogue of the original edition he also proceeds in the manner of a TV script, redundantly summing up arguments repeatedly made throughout the book. There are also continual quote marks throughout the book, without attribution. However, one can jump to the back, and referencing the page number, find fascinating and extended notes. This again makes the book seem like a transcript.

That said, McCrum is at his best on his home turf of literature. Here he is eager to communicate his own enthusiasm, and to quote his favorite authors. Here he is in his element, and his book clips along. It's possible these parts may bore some readers, but I found them the most engrossing. He vividly portrays the possibilities inherent in English as a new written language, exploited so masterfully by Shakespeare and Chaucer, realized so dazzlingly in the Authorized version of the Bible, AKA The King James. This proved a double- edged sword, however. The dissemination of English meant also its standardization, and its later use as a political tool to destroy non- English languages like Gaelic, as well as regional variants like Cockney. It also began the trend away from Shakespeare, who would spell the same word numerous ways, to standard spelling and grammar. The varied spellings in the US and UK of the same word may be traced back to Benjamin Franklin, who deliberately set out to simplify American English.

What makes this book and series interesting, however, is its underlying thesis of the validity of worldwide English variants, so that there is not so much an English language as Englishes, worldwide varieties stretching from Canada to Australia, Asia to Africa. While standard English, also known as the RP or Received Pronunciation, remains a second language to numerous cultures, and a shop language for much of the world, these customized pidgins and creoles arose naturally from the collision of British English and native languages worldwide. In one interesting speculation, one expert suggests that English is at the point Latin was before it split into the various offshoots of French, Italian, and Spanish. Another speculation is that Spanish and Chinese will rise to dominance and English usage begin to shrink. Whatever the future of the English language, this book is a good introduction to its long and colorful past.

If you can read English, you need to read this book (or watch the video) at least once in your life.

If you like Dickens, Martin Chuzzlewit is definitely worth the read. Like virtually everything he wrote, this novel is engaging, emotional, and intensely human. It follows a pattern that is bound to seem familiar to those acquainted with Dickens, and has a very Dickensian happy ending; but then, that is what we love about Dickens. There is still something to be said for virtue, and it satisfies our sense of justice when it wins out in the end. That isn't a very modern sentiment, but it is an undeniably good one. This isn't the first book I would recommend for someone wanting to pick up a little Dickens (Tale of Two Cities, David Copperfield, Oliver Twist would probably all come first), but this is worth the read. I give it four stars only because I think it is second-tier Dickens; but second-tier Dickens is still first-rate.

because I really think that this is a great work, with only a few minor flaws. I admit that for the first 300 pages or so that I was somewhat unimpressed- it seemed like Dickens wasn't presenting anything different from his other works, but, as someone else mentioned, the pace really picked up the farther I got into it. I ended up spending much of the weekend reading just because I couldn't wait to find out how it ended! The only thing I would say was an issue was the sentimentality that showed up in characters like Tom Pinch and Mary Graham. As others have said, I wouldn't recommend this for one's first Dickens, but it is still a wonderful and enthralling read.

Mark Tappley, who is always 'jolly', and the worse the situation, the better opportunity he sees for himself to "come out strong"; is my favorite character in my favorite Charles Dickens novel, "Martin Chuzzlewhit": (here Jonas Chuzzlewhit rides in a carriage with the man he is destined to murder within a few days...)

The thunder rolled, the lightning flashed; the rain poured down like Heaven's wrath. Surrounded at one moment by intolerable light, and at the next by pitchy darkness, they still pressed forward on their journey. Even when they arrived at the end of the stage, and might have tarried, they did not; but ordered horses out immediately. Nor had this any reference to some five minutes' lull, which at that time seemed to promise a cessation of the storm. They held their course as if they were impelled and driven by its fury. Although they had not exchanged a dozen words, and might have tarried very well, they seemed to feel, by joint consent, that onward they must go.

Louder and louder the deep thunder rolled, as through the myriad halls of some vast temple in the sky; fiercer and brighter became the lightning, more and more heavily the rain poured down. The horses (they were travelling now with a single pair) plunged and started from the rills of quivering fire that seemed to wind along the ground before them; but there these two men sat, and forward they went as if they were led on by an invisible attraction.

The eye, partaking of the quickness of the flashing light, saw in its every gleam a multitude of objects which it could not see at steady noon in fifty times that period. Bells in steeples, with the rope and wheel that moved them; ragged nests of birds in cornices and nooks; faces full of consternation in the tilted waggons that came tearing past: their frightened teams ringing out a warning which the thunder drowned; harrows and ploughs left out in fields; miles upon miles of hedge-divided country, with the distant fringe of trees as obvious as the scarecrow in the beanfield close at hand; in a trembling, vivid, flickering instant, everything was clear and plain: then came a flush of red into the yellow light; a change to blue; a brightness so intense that there was nothing else but light; and then the deepest and profoundest darkness.

The lightning being very crooked and very dazzling may have presented or assisted a curious optical illusion, which suddenly rose before the startled eyes of Montague in the carriage, and as rapidly disappeared. He thought he saw Jonas with his hand lifted, and the bottle clenched in it like a hammer, making as if he would aim a blow at his head. At the same time he observed (or so believed) an expression in his face: a combination of the unnatural excitement he had shown all day, with a wild hatred and fear: which might have rendered a wolf a less terrible companion.

He uttered an involuntary exclamation, and called to the driver, who brought his horses to a stop with all speed.

It could hardly have been as he supposed, for although he had not taken his eyes off his companion, and had not seen him move, he sat reclining in his corner as before.

`What's the matter?' said Jonas. `Is that your general way of waking out of your sleep?'

`I could swear,' returned the other, `that I have not closed my eyes!'

`When you have sworn it,' said Jonas, composedly, `we had better go on again, if you have only stopped for that.'

He uncorked the bottle with the help of his teeth; and putting it to his lips, took a long draught."

This most wide-ranging of Dickens' books is also famous for it's criticisms of American culture in the 19th century, or the lack thereof, as well as the lack of ethics, personal hygeine, table manners, modesty, and of any ability to accept criticisms of that nature. People get very hostile toward good authors, and spitting tobacco juice on every available object, animate or inanimate, was apparently considered an important freedom guaranteed by the Constitution...

P.S. Charles Dickens was surely one of the greatest writers of horror, though he's unrecognized as such. I can't wait to start reading "Our Mutual Friend"... which opens with a father and daughter scavenging for corpses on the Thames.

But if you enjoy a nice financial scandal, I think a fine companion to "Martin Chuzzlewhit" is Emile Zola's "Money", which also deals with financial corruption, having a "Universal Bank" of it's own to rival the "Anglo-Bengalese Disinterested Loan And Life Insurance Company"...

Greed and selfishness abound in this long novel originally brought to the 1843-44 reading public through twenty monthly installments. The book did not sell well and is today little known except to Dickens fans. It is well worth a perusal as it:
1. Exhibits a fascinating cast of characters from the alcohoic nurse Mrs Gamp and her imaginary friend Mrs Harris to the unforgettable Mr. Seth Pecksniff whose hypocritical lifestyle is a gem of descriptive satire by the master Dickens. Pecksniff is an architect seeking to wed his two daughters to rich folks, claim credit for other people' work and cast aside from his office such worthy young gentlemen as Martin Chuzzlewit, John Westlock and the timorous Tom Pinch. Tom and his Ruth are a beautiful example of sibling love and kindness to others in need.
The book is also an excellent mystery as the evil Jonas Chuzzlewit plots the death of his rich old father; murders a business associate and is finally arrested. Jonas commits suicide by poison orignally intended for his father.
All's well that ends well is this long serialized work. The section on Martin and his friend Mark Tapley's trip to the USA was inserted by Dickens to raise sluggish sale figures for the monthly installments of the work. Dickens had a keen eye for Yankee foibles from spitting to politics to making a quick buck. Martin and Mark end their journey in the swampy regions of the town of Eden. Only the help of Mr. Bevan a kind American allows them to return to England. Dickens had been disillusioned by the republic of his American cousins in his 1841 tour of the states. He briefly mentions slavery in America and his view is negative. It should also be noted that Dickens found much to find fault with and criticize about his native land of England.
This is not the first Dickens novel to begin with for there are parts (especially in the first installments) that drag as we learn about old Martin Chuzzlewit's ancestors and his disowning of his grandson Martin the hero of the novel. They will later reconcile in the exciting finish of this racing coach of genius across the broad sweep of the Victorian town and country landscape.
Charles Dickens was a genius whose words deserve to be read as long as the English language is spoken, celebrated and honored on this globe.
Great book!

Martin Chuzzlewit the elder is dying and all the family has designs on gaining their inheritance. His grandson seems the odds on favorite but young Martin, the grandson has fallen madly in love with the elder Martin's altruistic nurse, Mary Graham. Why the elder Martin finds this terrifying is puzzling. Does he really think Mary's interest in Martin the younger will compromise the quality of her job? Oh, oh...I've done it, I've caught Dickens capturing the foibles of humanity again!!!
These characters sometimes make me scream. I'd like to be face to face with them, vigourously attempting to argue them out of their other-destructive behavior...Of course it would be totally useless as far as they're concerned, but hopefully cathartic for me.
The PBS video (6 hours) is how I was introduced to this story. After viewing the video I read the book. Dickens offers a marked contrast to his near contemporary Alexis deTocqueville's. Where Tocqueville saw free association and high community spirit in his Democracy in America, Dickens saw flim-flam and greed everywhere. -As greed and selfishness are big themes in Chuzzlewit, America proved an apt foil. It is said American publishers pirated Dickens work, paying him no royalties, adding fuel to his ire. Other reviewers have commented on Pecksniff , Mrs. Gump, Jonas Chuzzlewit and Tom Pinch. Oh, there are Dickensian characters in this book. The rivalry between Mercy and Charity Pecksniff results in this case, in alarming tragedies of self-centeredness. If there be humor in such goings on, you'll love Montigue Tigg (Tigg Montigue). He is every bit the operator, having much in common with Mr. Merdle of Dicken's Little Dorritt. Rest assured, as Dickens torments the reader with the trials of his characters, this is one of those tales where just desserts are served in the end.

Among the reasons to come to earth must surely be the chance to read this novel. Shaw called this novel a masterpiece among masterpieces. My opinion is that this novel is the greatest of the sixteen. It is less bland than Bleak House, more poignant than Copperfield. I started it desultorily, distracted greatly by events in my life. But gradually as I read it dawned on me that sentence by sentence Dickens was here at his most trenchant. I began to be charmed by the characters, some of the greatest in his oeuvre. For all the darkness in the conception--a girl born and raised in debtor's prison--Little Dorrit is a wonderful character. Arthur Clennam is a real man. I adore Flora's deranged speech and her tenderness. Fanny is a delight! And there are Doyce and Pancks--and the Meagles and Pet and Tattycoram--and there are so many secrets! And isn't Blandois the precursor of Fosco? Oh, I could go on. To the Circumlocution Office and Barnacles and Merdle - and Afferty and Flintwich and Mrs. Clennam--such a wonderful feast of characters--with the Marshallsea hovering over all.

How well Dickens uses dialogue to identify character; how amusing are their tics. The characters fall into strata. The main of them, characterized by Clennam, Doyce, and Pancks, are at the level of small businessmen, tradesmen. Below them are the destitutes. A little above them are Mrs. Clennam, Casby, the Meagles. And high above them the Merdles, Gowans, and the like. The novel finds its way at the lower levels--it's a novel of the lower middle class and the lower class and the poor--and down there is so much life and love and devotion. It was strong medicine for me, cognitively dissonant, for Little Dorrit to love with such devotion. And Clennam loves her so deeply though he had no love in his life to that point. Where did he find such love in himself?

Dickens does not just give the action. Unlike so many other writers (almost all), he lets the characters be themselves, revealing the plot from time to time as they get to it, but seldom hurrying. They are being themselves and leading their lives--of course caught up in the great machine of the novel; it's as though Dicken's characters' clothes get caught in the huge, creaking machinery of his plots which then tugs them along, or perhaps grinds them up...

The novel is too full of words. It's verbose. Many times I could not follow the sense. It's labored. There are plot shifts just for the sake of changing the experiment.

But as I finished the novel a benediction fell upon me--a moment that cannot be put into words.

This was a mandatory reading for a Literary Theory class and I must say, at first, I was less than pleased. I have read Dickens a few times before tackling "Little Dorrit" (David Copperfield is my favorite) and his works aren't always "gripping." However, upon finishing the novel there was a great sense of accomplishment. This story reveals so much about the wrongs of high society and the importance of appearances. In this 800 page epic, Dickens gives us a love story that can actually be useful in, and comparable to, today's world.
I left this book feeling most glad that I had been "made" to read it because it has reminded me that times have not changed so very much when it comes to what's important in life.
In warning, it is not exactly quick in pace (considering it was written serially for periodicals over several months of time) but it does have an important message...and the characters are just quirky enough to make it interesting. Dickens even delves into the surreal once or twice, which makes for a nice twist.
A tip: If you find yourself in the middle of a harsh winter in, say Michigan, and you have some free time in your days, this book would perfectly fit the mood. Warning!: Do not take this one to the beach for leisure reading!!!

With Little Dorrit, Charles Dickens touched upon a subject near and dear to his own heart; that of having a father who was incarcerated in Debtor's Prison. But Dickens extends this probing eye to include many different types of prisons that we either fall into by the fault or actions of others, or by our own actions.

Arthur Clennam returns home to London after many years away to find many things changed, and many the same. His mother, a recluse to the home that Arthur grew up in, remains a solitary figure, cast in shadows. Flora Casby Finching, the love of Arthur's youth, who married another and now finds herself alone; re-enters his life, and he finds himself wondering what he ever saw in such a flighty, chatty girl. Arthur also finds Jeremiah Flintwinch and his wife, Affery; in attendance to his mother. Jeremiah, a rough-edged, secretive man is a stark contrast to his meek, timid wife, who is plagued by dreams of augury throughout the story.

Also entering Arthur's life are the Dorrit's, the 'first family' of the Marshallsea Prison...Father William, the debtor in question, Amy; the caretaker and martyr of the clan, Fanny; the arrogant, self absorbed elder daughter, and Tip; the lazy, shiftless brother who, when given the chance and opportunity to strike out on his own and find a better life, wanders back to London to re-tie the family apron strings he was to break free from. Amy, employed to Arthur's mother as a seamstress; finds herself ever the voice of reason, the sacrificer, the kind and gentle soul....swimming in a sea of ingrates.

With typical Dickens flair; fortunes are reversed, lives are intertwined; secrets are kept, and revealed; and once again the reader realizes that nothing is ever what it seems on the streets of London. Numerous plot twists throughout the novel propel the story along at a very satisfying pace. Little Dorrit, after an unexpected windfall comes to the family; still finds herself in the same unenviable position in the family. Mr. Dorrit finds himself trapped by his prison background even after he is released, in the manner of trying to 'measure up' to society, and rise above his past. One particular point I found interesting was having Mr. Dorrit, in Book 2, settle his family into a large, virtually empty hotel to live...as if he could not leave the enormity of the prison, and all its rooms and inhabitants, completely behind.

The 'prisons' that Dickens visits in the latter half of the story are those of kept secrets; past transgressions; emotional obligation; and so many more that exist in our minds and memories.

While I only give the book four stars, it was a wonderful read. The characters are up to their usual flourish and flaw. But at times the plot devices were visible all the way from Marseilles to the Marshallsea, and seem to come from nowhere, really. While they help the story immensely, in terms of direction...they lack in credibility, and seemed a bit soap-operaish in their 'timely arrival'.

Nevertheless - I enjoyed immersing myself in Dickens' London once again..and walked away satisfied with the outcome. Even in Dickens' darkest tales, he usually delivers a silver lining.

A highly enjoyable read...

Little Dorritt was born at Marshalsea-the debtors prison. Her father is something of an informal mayor (`father') of the place, and everyone imprisoned there pays him homage-and alms- for his long suffering good nature and the 'tone' he sets for the experience of being thrown in jail Indeed, Mr. Dorritt has raised self pity to an art form. Little Dorritt is small and wan. People continually ask her if she `has strength and can endure things.' She reminds them she was born in the poor house. Through the kind offices of `a friend,' Arthur Clennam, midway through the book, the family is released from prison, debts paid and they live the genteel life that Mr. Dorritt always assumed was his birthright. In a classic case of projection, Mr. Dorritt prattles to Amy (Little) Dorritt how she should not be morose, and she should forget life in the poor house. 'Put on airs for the sake of the servants so they would remember 'their place.' Mr Dorritt goes on to assure Amy `he has completely wiped the sad episode of living in debtors prison' from his mind. In order to secure his place in society, Mr. Dorritt seeks favor from an unseen Mr. Merdle who it seems has the economy of the entire world in the palm of his hand. Indeed, Fanny Dorritt, Amy's sister is also smitten with the Merdle clan and seeks the favor of Edmund Merdle, just so she can put on even more superior airs than Mrs. Merdle does. The circumlocutions of speech, especially those Mr. Dorritt and Mrs. Merdle use, when these characters talk to one other in itself is worth the price of admission. Amy is devoted to her father and shows little interest in social activities. She does however manage, through her needlework, to make the acquaintance of Mrs. Clemmens, Arthurs mother- that's how Arthur comes to learn of Mr. Dorritt's legal plight and thanks to Arthur they got away from Marshalsea, the debtor's prison. In time, Mr. Dorritt falls sick. He stands up at a dinner party to give his `welcome to Marshallsea speech, much to the embarrassment of all the high society types there present. Hence the contrast between the two societies, the debtors and the wealthy. Mr. Dorritt's disease in terminal and inevitably, we meet Mr. Merdle when he comes to commiserate with Fanny, his son Edmund and the other mourners. The mighty economic dynamo who has been the talk of the town-is oddly contrite. In leaving the wake, he asks in all humility, if he might have a pen knife...one of the wedding tokens from Edmund and Fanny's wedding. Mr. Merdle then privately kills himself.
All his financial wheelings and dealings were false and the family is busted. Arthur Clemmens is busted too, and Amy goes to find him at Marshalsea in her families old lodgings. She insists on helping him and he is ashamed as he believes he was not only instrumental in their release from Marshalsea but also in connecting the family with the notorious Mr. Merdle. Amy will have nothing to do with this all this pathos. She goes to plead Arthur's case with his mother who has money locked up in a vault. She has been paralyzed for a very long time and is unable to walk. The steward is furious that the family fortune should be spent to pay Arthur's debts as the steward believes and has tried to convince Mother that Arthur is a spendthrift playboy. The steward wants the money for his loyal service.
Mother rises from her chair and with assistance from Amy and her maid, descends the stairs and sees the steward open the safe, at which point the house collapses. Amy takes the money, frees Arthur and the two are married.
I give you a sketch of the plot in an effort to help the reader navigate through this book. Little Dorrit gives good service in depicting Debtors prison and paints a very Dickensian scene, as another reviewer commented, there is a sense of accomplishment in completing this read.

I'm busy reading the Dickens catalogue, chronologically. Despite the length and depth of "Little Dorrit," I read it in much less time than any other Dickens work thus far. So much is so good here: vivid narrative description, 3-D characters, subtle moral lessons, twisty plot with solid resolutions. When I first got to know Amy, my first thought was that she was too good and pure to live all the way through the novel. Then, as I came to know her better, I vowed that if Dickens did kill her off, I'd read no more of him! Needless to say, I was pleased with the way things turned around, so that Amy ended up back in the prison -- but in such altered circumstances! Recommended for experienced Dickensians.

This little story is a gem. It's writing is more in the mode of storytelling than novel-writing--but it is layered with richness of parallels.

I do not know who the author is other than what it says in the book and I cannot find out anything about him. Is he a ghost writer himself?

This is a must read for Christmas. It challenges the reader to something that so few books do any more. And that is........
THINK!
At times it is a tear jerker, but happy in the end. Even though the author claims he does not- he DOES do justice to the original.

Like Dickens' Christmas Carol, this tale is short, one that could be read on a winter's evening, perhaps right around the Holiday Season.

Perhaps because I read it last night, during the middle of August, I found myself dissapointed. There was no snow on the ground, no tree in my living room. No holiday music in the air.

Then again, I don't think it would have mattered that much.

I had heard about this book some time ago, and over time, have kept promising myself to order it. I finally did - and sadly the anticipaton did not match the delivery.

As the other reviewers have stated, this was written by a Middle School teacher who has an affinity towards Dickens. While I cannot claim to have read everything Dickens wrote, like many people, I have a strong love for "A Christmas Carol." Whether you're Catholic, Jewish, etc -- the Carol is a wonderful story that transcends religious beliefs (depsite its Christian overtones) and tells us to hold love in our hearts -- for ourselves and one another.

And I truly believe that is exactly what the author of this sequel was thinking when he wrote this.

Another reviewer said this book was written with children in mind-- if that's the case then I can understand the writing. But at times, I found some of the dialogue weak, even by young adult standards. Also, I'm not the greatest when it comes to grammar, but I spotted more than a few glaring grammatical errors in the course of the tale.

And yes, (as another reviewer said) the political correctness was a bit over the top, as was the author's continued driving of the point regarding Ebeneze Scrooge's redemption. Perhaps I'm in a minority, but I've never forgotten the fact that Scrooge was redeemed at the end of "Carol." As for the PC-ness of the book -- there was nothing wrong with the message(s) that Dale Powell was trying to convey. It just felt like he was trying way too hard to convey it.

There are several other "Christmas Carol" sequels out there -- none of which I have read, but are available here on Amazon, and appear to have rather good reviews. I'm inclined to check some of them out, including "Jacob Marley's Christmas Carol" and "The Trial of Ebenezer Scrooge"

I guess ultimately, I'm not saying "Do not read this book," but perhaps explore other options before reading it. Don't expect an absolutely amazing story, but do expect to read something that an individual put a great deal of time, effort and heart into. And for that, I applaud Mr. Powell.

Great little moral tale about life, death, Christmas, love and war. The author spins a masterful web around history in giving us a warm sequel to Dickens timeless tale. Long overdue. I loved it.

The plot, in short: In 1917, Timothy Cratchit (Tiny Tim from Dickens's classic novella) is 81. His son and daughter-in-law have died some time earlier, and his grandson has perished two months earlier in World War I. Having lived an exemplary life, Cratchit is now tired and wishes to die. On Christmas Eve 1917, though, he is visited by the ghost of Ebeneezer Scrooge and three spirits of various Christmases.

This sequel lacks the feel and panache of its predecessor. Indeed, this novella is so poorly edited that errors abound, making it seem like a not-ready-for-publication first draft. The list of errors is too extensive to include here in its entirety, but a sampling is in order. There are extraneous and missing quotation marks; paragraphs are not always indented; and the author repeatedly confuses "effect" and "affect."

I have seen worse, but there is a reason editors exist, and Mr. Powell would have been well advised to seek the services of one. One of the wonderful aspects of the original "A Christmas Carol" is the writing itself, from Dickens's exposition on the simile "dead as a doornail" to Scrooge's pun that "[t]here's more of gravy than of grave about" Marley's ghost. Unfortunately, this homage does not begin to approach the polish of the original.

There is also the problem of the political message. Now, it must be admitted at first that Dickens's "A Christmas Carol" was an extremely political book, but Dickens's message was immediately relevant, and it indeed reechoed after the book's publication. Here, however, the ghosts who visit Cratchit are concerned three things: the condition of Blacks and the Jim Crow South, the treatment of Germans in Cincinnati, and the rise of Adolph Hitler. Unlike Dickens, who, save for a brief scene with the Ghost of Christmas Present ("This boy is Ignorance. This girl is Want."), made his story deeply personal, Powell takes on much broader themes. There is a personal nexus in that Cratchit's link to Germany is through his German doctor and similar connections for Powell's other concerns, but the issues seem far too forced here. Moreover, if this story is, as others have suggested, for children, the inclusion of Hitler in a Christmas story seems a bit much to ask parents to explain to their charges.

Ultimately, "Timothy Cratchit's Christmas Carol, 1917" seems far more reminiscent of "It's a Wonderful Life" than of "A Christmas Carol" but lacks the emotional punch either. That is not to say there is nothing here; there is. The kernel of a good story is here. It just needs a rewrite and editing. Other books based on "A Christmas Carol" include The Last Christmas of Ebenezer Scrooge: The Sequel to A Christmas Carol, Jacob Marley's Christmas Carol, God Bless Us Every One!: Being an Imagined Sequel to a Christmas Carol, and The Trial of Ebenezer Scrooge (among others).

This little story is a gem. It's writing is more in the mode of storytelling than novel-writing--but it is layered with richness of parallels.

I do not know who the author is other than what it says in the book and I cannot find out anything about him. Is he a ghost writer himself?

A delightfully charming story including three NEW ghosts of Christmas. This story is unique and charming.
Dickens purists will not be happy, but remember, Dickens was ridiculed in his life time as being to simple for the aristocracy.

Short book that you can finish off in an evening, but you'll be thinking about it a long time. Excellent.

This is a must read for Christmas. It challenges the reader to something that so few books do any more. And that is........
THINK!
At times it is a tear jerker, but happy in the end. Even though the author claims he does not- he DOES do justice to the original.

A simple story that continues the Dickens classic. I have to disagree with the previous reviewer who stated it was unimaginative- quite the contrary! This is an ingenius plan to take the Christmas Carol lessons and move them forward to now.
Politically correct? Well, if that's what you want to call it. I call it being sensitive.
Dale Powell is not Dickens but he is obviously a great storyteller with a big heart. I saw him perform both his and Dickens story's in Seattle in 2000, and he was wonderful. This book is a classic waiting to be recognized.

Of all the annotated classic works, this one is probably my favorite. I like it for a number of reasons. It can be enjoyed in one (longish) sitting. The notations are very informative and well-spaced so as not to take away from the reading of the story. The illustrations are in multiple styles by multiple artists, and they are very intriguing. It has some nice glossy prints including one of the cover of the original edition. It contains two version of the story, one being the public reading version, which is concise and invites you to make it a Christmas tradition at your house. And as with The Annotated Wizard of Oz (Centennial Edition), The Annotated Classic Fairy Tales, and others, this looks really good on the shelf. You know you like Dickens. This book will deepen your appreciation of the man, his talent, and this timeless and remarkable Christmas tale.

For true fans of A Christmas Carol by Charles Dickens this book is a must read. Patrick Hearn details what Charles Dickens did to get the book published his way and explains the archaic terms in the book so that modern readers can understand the book. I have found it very educational and would recommend it to anyone who enjoys A Christmas Carol. This book will only increase your enjoyment.

While the annotations are interesting I think I'd rather have them in a separate book of essays about Dickens and his world as I found them too distracting while trying to read the actual book.

Over the course of my life, I have enjoyed many and sundry versions of A Christmas Carol on screen and stage. But only recently did I finally get around to reading it. To my surprise, it turned out to be a Christian story. I knew it was inspiring, but I never dreamed there were so many Christian references, because only a few of them have survived in the many dramatic productions. (There are actually fifty or sixty different film versions of a Christmas Carol to date. You can read about most of them on the definitive Christmas Carol web site, [...]

The amazing thing about this five-part story, which is one of the shortest of Dickens' works, is that we never tire of seeing or hearing it. We seem addicted to the idea that Christmas can transform us if we let it. In A Christmas Carol, we see the Victorian Christmas we have always dreamed of. In the miser Scrooge, we see the best and worst of ourselves. And in the conclusion to the tale, we see the hope that we, similarly, can be transformed by the Spirit of Christmas.

It's interesting that A Christmas Carol is actually a ghost story. Tim Burton is not too far off in that regard. I suppose Dickens could have used angels; but ghosts fit the romantic sensibilities of his Victorian audience. They also kill any elusions that his audience may have had at the beginning that this would be a religious tale, as well as add a dramatically enticing element to the story. I mean, spirits. That begs the question, are they good or bad? Plus, it fits that a dead man might send spirits back to help a friend, while he may not have that kind of authority over angels. But what were the spirits if not angels, and what are angels if not spirits?

At any rate, it's a wonderful idea for a story - one of the best. Making each of the spirits represent Past, Present or Future Christmases was genius. As I said, it has five acts, the first being Scrooge's former state; the second through fourth, each of the spirits who visit him; and the last his reborn state. He is reborn, you know. I cannot think of a better example of a man who's life has been changed by the Spirit of Christ in the New Birth than Scrooge. It isn't explained that way in the text, but it is implied by how Scrooge describes his change on Christmas morning after his night of visitations:

"I will live in the Past, the Present and the Future! The Spirits of all Three shall strive within me. Oh Jacob Marley! Heaven and the Christmas Time be praised for this! I say it on my knees, old Jacob, on my knees!"

What is this, but the attitude and posture of a repentant man. What are the three Spirits, but the Spirit of Christ. What is Heaven and the Christmas Time but Christ in his heart. Other references in the story confirm this.

Then there is the way Scrooge acts after his experience:

"I don't know what to do! I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy. I am as giddy as a drunken man. A Merry Christmas to everybody! A Happy New Year to all the world. Hallo here! Whoop! Hallo!"

What is this, but the actions and feelings of a man that has been born again and filled with the Holy Spirit. The 180 degree reversal of Scrooge's nature in the events that follow confirm this.

After this, Scrooge buys a turkey - a gigantic turkey - and sends it to Bob Cratchit's house in a cab. Here's how he felt afterwards:

"The chuckle with which he said this, and the chuckle with which he paid for the turkey, and the chuckle with which he paid for the cab, and the chuckle with which he recompensed the boy, were only to be exceeded by the chuckle with which he sat down breathless in his chair again, and chuckled till he cried."

This is sheer joy: the joy of giving, the joy of Christmas, the joy of the New Birth.

I love Scrooge, A Christmas Carol and Charles Dickens. In his famous Christmas tale, Dickens has given us the hope that if Scrooge can change, so can we. And it doesn't take a visit from three ghosts: the source of change is right under our noses. Every year at Christmas time, God reminds us that He has given us the way to change: Christ. Every year, the hope is renewed in the world and in our hearts. Like Scrooge, let us be filled with the Spirit of Christmas, the Spirit of Christ. Let's wake up each morning shouting "Hallo here! Whoop! Hallo!" and go forth doing the work of Christ.

A word about the historical context of A Christmas Carol, from Wikipedia:

"A Christmas Carol in Prose, Being a Ghost Story of Christmas (commonly known as A Christmas Carol) is a novella by Charles Dickens, first published on December 19, 1843, with illustrations by John Leech. The story was instantly successful, selling over six thousand copies in one week, and the tale has become one of the most popular and enduring Christmas stories of all time.

"Contemporaries noted that the story's popularity played a critical role in redefining the importance of Christmas and the major sentiments associated with the holiday. A Christmas Carol was written during a time of decline in the old Christmas traditions. 'If Christmas, with its ancient and hospitable customs, its social and charitable observances, were in danger of decay, this is the book that would give them a new lease,' said English poet Thomas Hood."

Waitsel Smith

This is a great edition of the novel, full of annotations that explain the meanings and usages of words from the time period. Although this story can - and is - enjoyed without the annotations, this version is a rich companion to the various other popular versions. It is also a fine looking volume. As to the story, we would be hard pressed to find people not familiar with A Christmas Carol, by Charles Dickens, due to several movies the novel has spawned. I finally sat down and read the novel and am glad I did. The novel by the prolific and popular Dickens is well-written with great characters. That the author can generate such imagery and fully-realized characters in such a short story, is a testament to his staying power. This book packs an emotional punch, and is a great tale for the holidays, or any time you need to remind yourself to be thankful for what you have and those around you. A classic story and a must read. 5 stars.

The play script is useful in its own right, but it is NOT the hardcover story I was expecting. If a picture had been posted here on Amazon, the confusion would never have arisen.

Jacob Marley's Christmas Carol is a must for any Christmas library. Truly, a great companion read to Dicken's A Christmas Carol. A fun read for all the year. A real Future Classic.Jacob Marley's Christmas Carol

I own & absolutely love the hardcover novel version of this story, and was very disappointed it was out of print when I conceived the idea of giving it to family members as a Christmas gift.
So I was thrilled to see it available again as a paperback, and ordered 15 copies, without realizing the paperback is a play version (perhaps that it was published by Dramatists Play Service should have been a clue....) The dialogue in the play version is essentially the same as that in the novel, but it isn't nearly as enjoyable a read without Tom Mula's lyrical descriptions of Jacob Marley's surroundings, as well as the internal dialogue of the characters.
If you are buying the paperback to stage a production, I think it would be a very worthwhile endeavor. If you're looking for a novel to curl up with on a cold December evening, get one of the used hardcovers...if I haven't bought them all!

I first came across this book many years ago. It was a wonderfly refeashing telling of an old seasonal story. I would highly recommend this wonderful twist on the story! To see it through Marley's eyes as he trys to help his friend and so help himself out of this sticky situation! May God bless them, every one!

This is a very witty and imaginative alternative version of Dickens's A CHRISTMAS CAROL. And it also has a very affecting moral of its own about self-sacrifice--Marley thinks that Scrooge is unredeemable, but then comes to pity his former partner and sacrifices himself for Scrooge, which has unexpected (and beneficent) results. It is also full of witty dialogue and pithy poetic descriptions.

Also highly recommended is Tom Mula's reading of this work--he does an OUTSTANDING job.