DigiCat Publishing presents to you this special edition of "Sketches by Boz, Illustrative of Every-Day Life and Every-Day People" by Charles Dickens. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Few transportation maps can boast the pedigree that London’s iconic ‘Tube’ map can. Sported on t-shirts, keyrings, duvet covers, and most recently, downloaded an astonishing twenty million times in app form, the map remains a long-standing icon of British design and ingenuity. Hailed by the art and design community as a cultural artifact, it has also inspired other culturally important pieces of artwork, and in 2006 was voted second in BBC 2’s Great British Design Test. But it almost didn’t make it out of the notepad it was designed in. The story of how the Underground map evolved is almost as troubled and fraught with complexities as the transport network it represents. Mapping the Underground was not for the faint-hearted – it rapidly became a source of frustration, and in some cases obsession – often driving its custodians to the point of distraction. The solution, when eventually found, would not only revolutionise the movement of people around the city but change the way we visualise London forever. Caroline Roope’s wonderfully researched book casts the Underground in a new light, placing the world’s most famous transit network and its even more famous map in its wider historical and cultural context, revealing the people not just behind the iconic map, but behind the Underground’s artistic and architectural heritage. From pioneers to visionaries, disruptors to dissenters – the Underground has had them all – as well as a constant stream of (often disgruntled) passengers. It is thanks to the legacy of a host of reformers that the Tube and the diagram that finally provided the key to understanding it, have endured as masterpieces of both engineering and design.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Sketches by "Boz," Illustrative of Every-day Life and Every-day People (commonly known as Sketches by Boz) is a collection of short pieces Charles Dickens originally published in various newspapers and other periodicals between 1833 and 1836. They were re-issued in book form, under their current title, in February and August 1836, with illustrations by George Cruikshank. The first complete one volume edition appeared in 1839. The 56 sketches concern London scenes and people, and the whole work is divided into four sections: "Our Parish", "Scenes", "Characters" and "Tales". The material in the first three sections consists of non-narrative pen-portraits, but the last section comprises fictional stories.The sketch "Mr Minns and his Cousin" (originally titled "A Dinner at Poplar Walk"), was the first work of fiction Dickens ever published. It appeared in The Monthly Magazine in December 1833. Although Dickens continued to place pieces in that magazine, none of them bore a signature until August 1834, when "The Boarding House" appeared under the strange pen-name "Boz". A verse in Bentley's Miscellany for March 1837 recalled the public's perplexity about this pseudonym:"Who the dickens 'Boz' could bePuzzled many a learned elf,Till time unveiled the mystery,And 'Boz' appeared as Dickens's self."Dickens took the pseudonym from a nickname he had given his younger brother Augustus, whom he called "Moses" after a character in Oliver Goldsmith's The Vicar of Wakefield. This, "being facetiously pronounced through the nose," became "Boses", which in turn was shortened to "Boz". The name remained coupled with "inimitable" until "Boz" eventually disappeared and Dickens became known as, simply, "The Inimitable". The name was originally pronounced /ˈboʊz/ but is now usually /ˈbɒz/.The popularity of Dickens's writings was enhanced by the regular inclusion of detailed illustrations to highlight key scenes and characters. Each sketch typically featured two black-and-white illustrations, as well as an illustration for the wrapper. The images were created with wood engravings or metal etchings. Dickens worked closely with several illustrators during his career, including George Cruikshank, Hablot Knight Browne (aka "Phiz"), and John Leech. The accuracy of the illustrations was of the utmost importance to Dickens, as the drawings portrayed the characters just as he envisioned them, and gave readers valuable insights about the characters' personalities and motives, as well as the plot.

The most unique aspect of Charles Dickens' skill as a writer -- and the characteristic that propelled him to unprecedented heights of literary fame -- was his ability to immerse readers in the quotidian details of his characters' lives, loves, and struggles. That strength shines through in this vast collection of short pieces culled from Dickens' tenure as a newspaper columnist.