Bringing together short stories, extracts from novels, and travel writing, this volumes journalistic highlights include accounts of a train journey from London to Paris, a rough Channel crossing, the pleasures of Boulogne, and Parisian life in the 1850s and 1860s. Illustrations & map.

The classic novel tells the story of Charles Darnay, Lucie Manette, Sydney Carton, and others. The narrative is split between Paris and London in the time leading up to the French Revolution (1789-1799). Dickens uses the story as a vehicle to portray the social inequities and injustices that the French peasantry faced at the hands of the aristocracy, which ultimately led to the Revolution. This bilingual edition is designed to assist those learning French. The English text appears on the left-hand pages of the book, with the corresponding French on the right-hand pages.

A Tale of Two Cities has always been one of Dickens's most popular texts. Using a variety of disciplinary approaches, this new collection of essays examines the origins of Dickens vision of the French Revolution, the literary power of the text itself, and its enduring place in British culture through stage and screen adaptations.

In this ambitious and exciting work Richard Maxwell uses nineteenth-century urban fiction--particularly the novels of Victor Hugo and Charles Dickens--to define a genre, the novel of urban mysteries. His title comes from the "mystery mania" that captured both sides of the channel with the runaway success of Eugene Sue's Les mysteres de Paris and G. W. M. Reynold's Mysteries of London. Richard Maxwell argues that within these extravagant but fact-obsessed narratives, the archaic form of allegory became a means for understanding modern cities. The city dwellers' drive to interpret linked the great metropolises with the discourses of literature and art (the primary vehicles of allegory). Dominant among allegorical figures were labyrinths, panoramas, crowds, and paperwork, and it was thought that to understand a figure was to understand the city with which it was linked. Novelists such as Hugo and Dickens had a special flair for using such figures to clarify the nature of the city. Maxwell draws from an array of disciplines, ideas, and contexts. His approach to the nature and evolution of the mysteries genre includes examinations of allegorical theory, journalistic practice, the conventions of scientific inquiry, popular psychiatry, illustration, and modernized wonder tales (such as Victorian adaptations of the Arabian Nights). In The Mysteries of Paris and London Maxwell employs a sweeping vision of the nineteenth century and a formidable grasp of both popular culture and high culture to decode the popular mysteries of the era and to reveal man's evolving consciousness of the city. His style is elegant and lucid. It is a book for anyone curious about the fortunes of the novel in thenineteenth century, the cultural history of that period, particularly in France and England, the relations between art and literature, or the power of the written word to produce and present social knowledge.

The Reception of Charles Dickens in Europe offers a full historical survey of Dickens's reception in all the major European countries and many of the smaller ones, filling a major gap in Dickens scholarship, which has by and large neglected Dickens's fortunes in Europe, and his impact on major European authors and movements. Essays by leading international critics and translators give full attention to cultural changes and fashions, such as the decline of Dickens's fortunes at the end of the nineteenth century in the period of Naturalism and Aestheticism, and the subsequent upswing in the period of Modernism, in part as a consequence of the rise of film in the era of Chaplin and Eisenstein. It will also offer accounts of Dickens's reception in periods of political upheaval and revolution such as during the communist era in Eastern Europe or under fascism in Germany and Italy in particular.

This anniversary edition of the Oxford Companion to Charles Dickens celebrates 200 years since the birth of one of Britain's most popular authors. Covering his life, his works, his reputation, and his cultural context in over 500 A-Z articles, this is the most reliable and accessible reference work on Dickens available

Using hundreds of primary sources, Charles Dickens in Love narrates the story of the most intense romances of Charles Dickens' life and shows how his novels both testify to his own strongest affections and serve as memorials to the young women he loved all too well, if not always wisely. When Charles Dickens died in 1870, he was the best-known man in the English-speaking world - the preeminent Victorian celebrity, universally mourned as both a noble spirit and the greatest of novelists. Yet, the first person named in his will was an unknown woman named Ellen Ternan - only a handful of people had any idea who she was. Of his romance with Ellen, Dickens had written, "it belongs to my life and probably will only die out of the same with the proprietor," and so it was. She remained the most important person in his life until his death. She was not the first woman who had fired his imagination. As a young man he had fallen deeply in love with a woman who "pervaded every chink and crevice" of his mind for three years, Maria Beadnell. When she eventually jilted him he vowed that "I never can love any human creature but yourself." A few years later he was stunned by the sudden death of his young sister-in-law, Mary Scott Hogarth, and worshiped her memory for the rest of his life. "I solemnly believe that so perfect a creature never breathed," he declared, and he died over thirty years later still wearing her ring. Charles Dickens has no rival as the most fertile creative imagination since William Shakespeare, and no one influenced his imagination more powerfully than these three women, his muses and teachers in the school of love.

The Oxford Handbook of Charles Dickens is a comprehensive and up-to-date collection on Dickens's life and works. It includes original chapters on all of Dickens's writing and new considerations of his contexts, from the social, political, and economic to the scientific, commercial, and religious. The contributions speak in new ways about his depictions of families, environmental degradation, and improvements of the industrial age, as well as the law, charity, and communications. His treatment of gender, his mastery of prose in all its varieties and genres, and his range of affects and dramatization all come under stimulating reconsideration. His understanding of British history, of empire and colonization, of his own nation and foreign ones, and of selfhood and otherness, like all the other topics, is explained in terms easy to comprehend and profoundly relevant to global modernity.