A wonderful A–Z of the fascinating world of Victorian London, full of amazing facts and curious humour.

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

How to Do Things with Books in Victorian Britain asks how our culture came to frown on using books for any purpose other than reading. When did the coffee-table book become an object of scorn? Why did law courts forbid witnesses to kiss the Bible? What made Victorian cartoonists mock commuters who hid behind the newspaper, ladies who matched their books' binding to their dress, and servants who reduced newspapers to fish 'n' chips wrap? Shedding new light on novels by Thackeray, Dickens, the Brontës, Trollope, and Collins, as well as the urban sociology of Henry Mayhew, Leah Price also uncovers the lives and afterlives of anonymous religious tracts and household manuals. From knickknacks to wastepaper, books mattered to the Victorians in ways that cannot be explained by their printed content alone. And whether displayed, defaced, exchanged, or discarded, printed matter participated, and still participates, in a range of transactions that stretches far beyond reading. Supplementing close readings with a sensitive reconstruction of how Victorians thought and felt about books, Price offers a new model for integrating literary theory with cultural history. How to Do Things with Books in Victorian Britain reshapes our understanding of the interplay between words and objects in the nineteenth century and beyond.

Contains 11,000 entries

“A flower is not a flower alone; a thousand thoughts invest it.” Daffodils signal new beginnings, daisies innocence. Lilacs mean the first emotions of love, periwinkles tender recollection. Early Victorians used flowers as a way to express their feelings—love or grief, jealousy or devotion. Now, modern-day romantics are enjoying a resurgence of this bygone custom, and this book will share the historical, literary, and cultural significance of flowers with a whole new generation. With lavish illustrations, a dual dictionary of flora and meanings, and suggestions for creating expressive arrangements, this keepsake is the perfect compendium for everyone who has ever given or received a bouquet.

A large-scale reference work covering the journalism industry in 19th-Century Britain.

For fans new and old, an enjoyable tour through the world of Dickens in the hands of a master critic. Charles Dickens, the 'Great Inimitable', created a riotous fictional world that still lives and breathes for thousands of readers today. But how much do we really know about the dazzling imagination that brought all this into being? For the bicentenary of Dickens' birth, Victorian literature expert John Sutherland has created a gloriously wide-ranging alphabetical companion to Dickens' work, excavating the hidden links between his characters, themes, and preoccupations, and the minutiae of his endlessly inventive wordplay. Covering America, Bastards, Childhood, Christmas, Empire, Fog, Larks, London, Madness, Murder, Orphans, Pubs, Punishment, Smells, Spontaneous Combustion and Zoo to name but a few - John Sutherland gives us a uniquely personal guide to the great man's work. Excerpt: HANDS; Every Dickens novel has a master image. In Our Mutual Friend it is the river. In Bleak House it is the fog. In Little Dorrit, it is the prison. In Great Expectations it is the hand. We often know much more about the principals' hands in that novel than their faces. Who, when the name Magwitch is mentioned, does not think of those murderous 'large brown veinous hands'? Jaggers? One's nose twitches---scented soap (the lawyer, like Pontius Pilate, is forever washing his hands). Miss Havisham? Withered claws. So it goes on...

NEW YORK TIMES BESTSELLER • REESE’S BOOK CLUB PICK • “Delightful . . . [a] captivating and slyly subversive fictional paean to the real women whose work on the Oxford English Dictionary went largely unheralded.”—The New York Times Book Review “A marvelous fiction about the power of language to elevate or repress.”—Geraldine Brooks, New York Times bestselling author of People of the Book Esme is born into a world of words. Motherless and irrepressibly curious, she spends her childhood in the Scriptorium, an Oxford garden shed in which her father and a team of dedicated lexicographers are collecting words for the very first Oxford English Dictionary. Young Esme’s place is beneath the sorting table, unseen and unheard. One day a slip of paper containing the word bondmaid flutters beneath the table. She rescues the slip and, learning that the word means “slave girl,” begins to collect other words that have been discarded or neglected by the dictionary men. As she grows up, Esme realizes that words and meanings relating to women’s and common folks’ experiences often go unrecorded. And so she begins in earnest to search out words for her own dictionary: the Dictionary of Lost Words. To do so she must leave the sheltered world of the university and venture out to meet the people whose words will fill those pages. Set during the height of the women’s suffrage movement and with the Great War looming, The Dictionary of Lost Words reveals a lost narrative, hidden between the lines of a history written by men. Inspired by actual events, author Pip Williams has delved into the archives of the Oxford English Dictionary to tell this highly original story. The Dictionary of Lost Words is a delightful, lyrical, and deeply thought-provoking celebration of words and the power of language to shape the world. WINNER OF THE AUSTRALIAN BOOK INDUSTRY AWARD