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The story of the surprisingly fluctuating critical reputation of one of the great writers of the English language. Undoubtedly the best-selling author of his day and well loved by readers in succeeding generations, Charles Dickens was not always a favorite among critics. Celebrated for his novels advocating social reform, for half a century after his death he was ridiculed by those academics who condescended to write about him. Only the faithful band of devotees who called themselves Dickensians kept alive an interest in his work. Then, during the Second World War, hewas resurrected by critics, and was soon being hailed as the foremost writer of his age, a literary genius alongside Shakespeare and Milton. More recently, Dickens has again been taken to task by a new breed of literary theoristswho fault his chauvinism and imperialist attitudes. Whether he has been adored or despised, however, one thing is certain: no other Victorian novelist has generated more critical commentary. This book traces Dickens's reputation from the earliest reviews through the work of early 21st-century commentators, showing how judgments of Dickens changed with new standards for evaluating fiction. Mazzeno balances attention to prominent critics from the late 19th century through the first three quarters of the 20th with an emphasis on the past three decades, during which literary theory has opened up new ways of reading Dickens. What becomes clear is that, in attempting to provide fresh insight into Dickens's writings, critics often reveal as much about the predilections of their own age as they do about the novelist. Laurence W. Mazzeno is President Emeritus of Alvernia University, Reading, Pennsylvania.

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The story of the surprisingly fluctuating critical reputation of one of the great writers of the English language. Undoubtedly the best-selling author of his day and well loved by readers in succeeding generations, Charles Dickens was not always a favorite among critics. Celebrated for his novels advocating social reform, for half a century after his death he was ridiculed by those academics who condescended to write about him. Only the faithful band of devotees who called themselves Dickensians kept alive an interest in his work. Then, during the Second World War, hewas resurrected by critics, and was soon being hailed as the foremost writer of his age, a literary genius alongside Shakespeare and Milton. More recently, Dickens has again been taken to task by a new breed of literary theoristswho fault his chauvinism and imperialist attitudes. Whether he has been adored or despised, however, one thing is certain: no other Victorian novelist has generated more critical commentary. This book traces Dickens's reputation from the earliest reviews through the work of early 21st-century commentators, showing how judgments of Dickens changed with new standards for evaluating fiction. Mazzeno balances attention to prominent critics from the late 19th century through the first three quarters of the 20th with an emphasis on the past three decades, during which literary theory has opened up new ways of reading Dickens. What becomes clear is that, in attempting to provide fresh insight into Dickens's writings, critics often reveal as much about the predilections of their own age as they do about the novelist. Laurence W. Mazzeno is President Emeritus of Alvernia University, Reading, Pennsylvania.

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‘Dickens’s Favourite Blacking Factory’ is the extraordinary story of Charles Day, a self-made nineteenth-century boot-blacking entrepreneur, the dispute over whose Will led Charles Dickens to create the apparently endless case of ‘Jarndyce and Jarndyce’ in his novel ‘Bleak House’. In this remarkable and highly imaginative telling of a true story, after a decades-long search for information on his ancestor, the author makes a fluke discovery, revealing a sweeping story of Regency and early-Victorian London. An actual 170,000-word document uncovered in the National Archives exposes the tragic last two months of the life of Charles Day. This includes his deteriorating mental faculties resulting from tertiary syphilis, his remarkable philanthropy, blackmail by a dodgy solicitor, the inertia of the contemporary legal system and the shame of illegitimacy, particularly in the wealthy classes. Perhaps the plot of Dickens’s ‘Bleak House’ even reflects aspects of Charles Day’s own life?

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From childhood, Charles Dickens was fascinated by tales from other countries and other cultures, and he longed to see the world. In Dickens and Travel, Lucinda Hawksley looks at the journeys made by the author - who is also her great great great grandfather. Although Dickens is usually perceived as a London author, in the 1840s he whisked his family away to live in Italy for year, and spent several months in Switzerland. Some years later he took up residence in Paris and Boulogne (where he lived in secret with his lover). In addition to travelling widely in Europe, he also toured America twice, performed onstage in Canada and, before his untimely death, was planning a tour of Australia. Dickens and Travel enters into the world of the Victorian traveller and looks at how Charles Dickens's journeys influenced his writing and enriched his life.

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In this book from the critically acclaimed, multimillion-copy bestselling Little People, BIG DREAMS series, discover the life of Charles Dickens, the influential author. When Charles was a boy he made up his own adventures. But after a Dickensian twist of fate saw his father go to prison for debt, Charles ended up working in a factory with other children. He worked his way out, trying his hand in a law firm, and then as an actor, before making a name for himself as a reporter and gifted storyteller. Charles became one of the most beloved novelists of all time, aware of the power of a tale and of giving poor children a voice. This moving book features stylish and quirky illustrations and extra facts at the back, including a biographical timeline with historical photos and a detailed profile of the writer's life. Little People, BIG DREAMS is a bestselling biography series for kids that explores the lives of outstanding people, from designers and artists to scientists and activists. All of them achieved incredible things, yet each began life as a child with a dream. This empowering series of books offers inspiring messages to children of all ages, in a range of formats. The board books are told in simple sentences, perfect for reading aloud to babies and toddlers. The hardback and paperback versions present expanded stories for beginning readers. With rewritten text for older children, the treasuries each bring together a multitude of dreamers in a single volume. You can also collect a selection of the books by theme in boxed gift sets. Activity books and a journal provide even more ways to make the lives of these role models accessible to children.Inspire the next generation of outstanding people who will change the world with Little People, BIG DREAMS!

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In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets in our literature.Emily Dickinson (1830-86) was born in Amherst, Massachussetts, where she lived most of her life as a recluse, seldom leaving the house or receiving visitors. She published just a handful of poems in her lifetime, her first collection appearing posthumously in 1890.

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During the 19th century the U.S. and Britain came to share an economic profile unparalleled in their respective histories. This book suggests that this early high capitalism came to serve as the ground for a new kind of cosmopolitanism in the age of literary realism, and argues for the necessity of a transnational analysis based upon economic relationships of which people on both sides of the Atlantic were increasingly conscious. The nexus of this exploration of economics, aesthetics and moral philosophy is philanthropy. Pushing beyond reductive debates over the benevolent or mercenary qualities of industrial era philanthropy, the following questions are addressed: what form and function does philanthropy assume in British and American fiction respectively? What are the rhetorical components of a discourse of philanthropy and in which cultural domains did it operate? How was philanthropy practiced and represented in a period marked by self-interest and rational calculation?The author explores the relationship between philanthropy and literary realism in novels by Charles Dickens, Nathaniel Hawthorne, George Eliot, and William Dean Howells, and examines how each used the figure of philanthropy both to redefine the sentiments that informed social identity and to refashion their own aesthetic practices. The heart of this study consists of two comparative sections: the first contains chapters on contemporaries Hawthorne and Dickens; the second contains chapters on second-generation realists Eliot and Howells in order to examine the altruistic imagination at a culminating point in the history of literary realism.

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Think you already know the story of Charles Dickens' life? Think again. Almost everything you're familiar with was first mentioned in an authorised biography written by Dickens' close friend John Forster 150 years ago. It's the version of events that Dickens himself chose to make public, and newly accessible archives reveal that it's crammed with gaps, inconsistencies, and outright lies. There's the sister whose existence Dickens kept secret and the Jewish relations whose faith he strove to conceal. There's plagiarism, fraud, and suicide. And that's only for starters. Helena Kelly, author of the acclaimed Jane Austen, the Secret Radical, retells Dickens' story from his childhood to his deathbed, uncovers the truths he tried to keep hidden, and offers a fresh - and deeply troubling - perspective on the man who remains one of Britain's best-known novelists. You won't be able to look at him - or his work - in the same way again.

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“A visual treat as well as a literary one…for gardeners and garden lovers, connoisseurs of botanical illustration, and those who seek a deeper understanding of the life and work of Emily Dickinson.” —The Wall Street Journal Emily Dickinson was a keen observer of the natural world, but less well known is the fact that she was also an avid gardener—sending fresh bouquets to friends, including pressed flowers in her letters, and studying botany at Amherst Academy and Mount Holyoke. At her family home, she tended both a small glass conservatory and a flower garden. In Emily Dickinson’s Gardening Life, award-winning author Marta McDowell explores Dickinson’s deep passion for plants and how it inspired and informed her writing. Tracing a year in the garden, the book reveals details few know about Dickinson and adds to our collective understanding of who she was as a person. By weaving together Dickinson’s poems, excerpts from letters, contemporary and historical photography, and botanical art, McDowell offers an enchanting new perspective on one of America’s most celebrated but enigmatic literary figures.

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Few novelists have written so intimately about a city in the way that Charles Dickens wrote about London. A near-photographic memory made his contact with the city indelible from a very young age and it remained his constant focus. Virginia Woolf maintained that, `we remodel our psychological geography when we read Dickens,’ as he produces `characters who exist not in detail, not accurately or exactly, but abundantly in a cluster of wild yet extraordinarily revealing remarks.’ But the `character’ he was drawn back to throughout his novels was London itself, all aspects of the capital from the coaching inns of his early years to the taverns and watermen of the Thames; these were the constant cityscapes of his life and work. Based on five walks in central London, Peter Clark illuminates the settings of Dickens’s London, his life, his journalism and his fiction. He also explores `The First Suburbs’ (Camden Town, Chelsea, Greenwich, Hampstead, Highgate and Limehouse) as they feature in Dickens’s writing.

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In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dickens’s novels but that go regularly unnoticed in Dickensian criticism: the linguistic infrastructure of his textured prose. Stewart, in effect, looks over the reader’s shoulder in shared fascination with the local surprises of Dickensian phrasing and the restless undertext of his storytelling. For Stewart, this phrasal undercurrent attests both to Dickens’s early immersion in Shakespearean sonority and, at the same time, to the effect of Victorian stenography, with the repressed phonetics of its elided vowels, on the young author’s verbal habits long after his stint as a shorthand Parliamentary reporter. To demonstrate the interplay and tension between narrative and literary style, Stewart draws out two personas within Dickens: the Inimitable Boz, master of plot, social panorama, and set-piece rhetorical cadences, and a verbal alter ego identified as the Other, whose volatile and intensively linguistic, even sub-lexical presence is felt throughout Dickens’s fiction. Across examples by turns comic, lyric, satiric, and melodramatic from the whole span of Dickens’s fiction, the famously recognizable style is heard ghosted in a kind of running counterpoint ranging from obstreperous puns to the most elusive of internal echoes: effects not strictly channeled into the service of overall narrative drive, but instead generating verbal microplots all their own. One result is a new, ear-opening sense of what it means to take seriously Graham Greene’s famous passing mention of Dickens’s "secret prose."

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In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dickens’s novels but that go regularly unnoticed in Dickensian criticism: the linguistic infrastructure of his textured prose. Stewart, in effect, looks over the reader’s shoulder in shared fascination with the local surprises of Dickensian phrasing and the restless undertext of his storytelling. For Stewart, this phrasal undercurrent attests both to Dickens’s early immersion in Shakespearean sonority and, at the same time, to the effect of Victorian stenography, with the repressed phonetics of its elided vowels, on the young author’s verbal habits long after his stint as a shorthand Parliamentary reporter. To demonstrate the interplay and tension between narrative and literary style, Stewart draws out two personas within Dickens: the Inimitable Boz, master of plot, social panorama, and set-piece rhetorical cadences, and a verbal alter ego identified as the Other, whose volatile and intensively linguistic, even sub-lexical presence is felt throughout Dickens’s fiction. Across examples by turns comic, lyric, satiric, and melodramatic from the whole span of Dickens’s fiction, the famously recognizable style is heard ghosted in a kind of running counterpoint ranging from obstreperous puns to the most elusive of internal echoes: effects not strictly channeled into the service of overall narrative drive, but instead generating verbal microplots all their own. One result is a new, ear-opening sense of what it means to take seriously Graham Greene’s famous passing mention of Dickens’s "secret prose."

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Érase una vez un hombre prolífico como pocos con la pluma, moralista, cultivador del "nonsense", mordaz, paradójico, radical, juguetón, polemista infatigable, ferviente defensor de la familia, la iglesia y el pub y enemigo acérrimo de burócratas, hombres de negocios, políticos y filántropos, que fuera denostado por algunos (en términos poco literarios) y por muchos ensalzado (sobre todo en términos literarios). Aquel hombre constituía además una curiosidad por su portentosa corpulencia y por su conversión al catolicismo en un país, Inglaterra, donde hacerse de ese credo puede parecer, más en alguien como él, casi una provocación. Se llamaba Gilbert Keith Chesterton, G. K. C. para los amigos: toda una fábula. G. K. Chesterton (Londres 1874 - Beaconsfield 1936) fue un virtuoso del estilo que, con mayor o menor fortuna, tocó casi todos los géneros literarios, creando un universo que sorprende ante todo por su inmensidad: más de cien títulos, entre obras y recopilaciones de escritos disper

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The endearing true story of how a love of birds connected and inspired two literary giants--Charles Dickens and Edgar Allan Poe.Years before Edgar Allan Poe's raven said "Nevermore," Charles Dickens' pet raven, Grip, was busy terrorizing the Dickens children and eating chipped paint. So how exactly did this one mischievous bird make a lasting mark on literature? From England to the United States and back again, this is the true and fascinating story of how a brilliant bird captured two famous authors' hearts, inspired their writing, and formed an unexpected bond between them. This ingenious slice of history, biography, and even ornithology celebrates the fact that creative inspiration can be found everywhere.

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The first biography of John Dickinson published in fifty years, The Cost of Liberty offers a sorely needed reassessment of a great patriot and misunderstood Founding Father. Countering the caricature of Dickinson that has emerged from such popular treatments as HBO’s John Adams miniseries, author William Murchison brings to life an astonishingly principled man whose gifts as philosopher, writer, and speaker only Jefferson came near matching. Today Dickinson is remembered mostly for his reluctance to sign the Declaration of Independence. But that reluctance was in fact principled, Murchison shows, not the result of a lack for patriotism. Indeed, Dickinson immediately took up arms to serve the colonial cause—something only one signer of the Declaration did. The Cost of Liberty gives a great Founder his long-overdue measure of honour.

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For Wallace Stevens, "Poetry is the scholar's art." Susan Howe—taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides—embodies that art in her 1985 My Emily Dickinson (winner of the Before Columbus Foundation Book Award). Howe shows ways in which earlier scholarship had shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, "My Life had stood—a Loaded Gun," Howe tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day. "Dickinson's life was language and a lexicon her landscape. Forcing, abbreviating, pushing, padding, subtracting, riddling, interrogating, re-writing, she pulled text from text...."

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Dickens and Christmas is an exploration of the 19th-century phenomenon that became the Christmas we know and love today -and of the writer who changed, forever, the ways in which it is celebrated. Charles Dickens was born in an age of great social change. He survived childhood poverty to become the most adored and influential man of his time. Throughout his life, he campaigned tirelessly for better social conditions, including by his most famous work, A Christmas Carol. He wrote this novella specifically to strike a sledgehammer blow on behalf of the poor man's child , and it began the Victorians' obsession with Christmas. This new book, written by one of his direct descendants, explores not only Dickens's most famous work, but also his all-too-often overlooked other Christmas novellas. It takes the readers through the seasonal short stories he wrote, for both adults and children, includes much-loved festive excerpts from his novels, uses contemporary newspaper clippings, and looks at Christmas writings by Dickens' contemporaries. To give an even more personal insight, readers can discover how the Dickens family itself celebrated Christmas, through the eyes of Dickens's unfinished autobiography, family letters, and his children's memoirs. In Victorian Britain, the celebration of Christmas lasted for 12 days, ending on 6 January, or Twelfth Night. Through Dickens and Christmas, readers will come to know what it would have been like to celebrate Christmas in 1812, the year in which Dickens was born. They will journey through the Christmases Dickens enjoyed as a child and a young adult, through to the ways in which he and his family celebrated the festive season at the height of his fame. It also explores the ways in which his works have gone on to influence how the festive season is celebrated around the globe.

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From a bitter childhood mired in poverty and hard work to a career as the most acclaimed and best-loved writer in the English-speaking world, Charles Dickens had a life as tumultuous as any he created in his teeming novels of life in Victorian England. And no one has captured the rich texture of this life as colorfully and persuasively as Fred Kaplan in this acclaimed biography. Drawing on unpublished and long-forgotten sources, Kaplan presents a full-scale portrait of Dickens and his world. From the autobiographical basis of his novels and his extraordinary circle of friends to the course of his unhappy marriage and complicated family relations, Kaplan reveals the restless compulsions, private passions, and professional concerns that drove Dickens to unprecedented literary success. Kaplan details Dickens's often stormy dealings with his publishers and his carefully cultivated relationship with readers, heightened through amateur theatricals and numerous public readings in Britain and North America. Brilliantly written and thoroughly researched, Dickens provides an absorbing and perceptive account of its subject as a singularly complex man and a consummate artist, offering readers new insights into Dickens's-and literature's-greatest works, works such as Bleak House, David Copperfield, Great Expectations, and Oliver Twist.

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'A joyful examination of two artists from different centuries and the unlikely parallels in their life and work' Guardian'An ardent fan letter from Hornby that makes you want to reread Great Expectations whilst listening to Sign o'the Times' Vogue_____________________The essential gift for lovers of Prince, Dickens and everyone in between!In Nick Hornby's completely joyous and original new book two great figures share the stage. Charles Dickens and Prince. Two wildly different artists who caught fire and lit up the world in ways no others could. Where did their magic come from? How did they work so hard and produce so much? How did they manage or give in to the restlessness and intensity of their creativity? How did they use it, and did it kill them?With wit, curiosity and deep admiration Nick Hornby traces their extraordinary lives - from their difficult beginnings to the women they fell for to their limitless energy for work, to their money and the movies - and brilliantly illuminates their very particular kind of genius.'I love this. It's smart and funny and elegantly persuasive' Robert Douglas-Fairhurst, author of Becoming Dickens

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In the first book centering on the collaborative relationship between Charles Dickens and Wilkie Collins, Lillian Nayder places their coauthored works in the context of the Victorian publishing industry and shows how their fiction and drama represent and reconfigure their sometimes strained relationship. She challenges the widely accepted image of Dickens as a mentor of younger writers such as Collins, points to the ways in which Dickens controlled and profited from his literary "satellites," and charts Collins's development as an increasingly significant and independent author. The pair's collaborations for Household Words and All the Year Round explicitly addressed Victorian labor disputes and political unrest, and Nayder reads the stories in terms of the social and imperial conflicts that both provided their themes and enabled Dickens and Collins to mediate their own personal and professional differences. Nayder's discussion of the collaboration and its principals is greatly enriched by archival research into unpublished and unfamiliar material, including the manuscripts of The Frozen Deep.

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When the complete Letters of Emily Dickinson appeared in three volumes in 1958, Robert Kirsch welcomed them in the Los Angeles Times, saying “The missives offer access to the mind and heart of one of America’s most intriguing literary personalities.” This one-volume selection is at last available in paperback. It provides crucial texts for the appreciation of American literature, women’s experience in the nineteenth century, and literature in general.

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Charles Dickens’ timeless story is brought to life in this vibrant new version by the award-winning playwright Neil Duffield. Christmas, the most wonderful time of the year! Well, it is for everyone except the miserable Scrooge. He prefers to spend Christmas all alone in his large house, instead of celebrating with mistletoe and merriment. Bah, humbug! But one cold, dark Christmas Eve Scrooge is surprised by the ghost of Marley, his former business partner. Marley warns Scrooge that he will be called upon by three spirits - each will take him on a mysterious and magical journey to show him the error of his ways... Can Scrooge discover the true wonder and meaning of Christmas before it’s too late?

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Catherine Hogarth, who came from a cultured Scots family, married Charles Dickens in 1836, the same year he began serializing his first novel. Together they traveled widely, entertained frequently, and raised ten children. In 1858, the celebrated writer pressured Catherine to leave their home, unjustly alleging that she was mentally disorderedunfit and unloved as wife and mother. Constructing a plotline nearly as powerful as his stories of Scrooge and Little Nell, Dickens created the image of his wife as a depressed and uninteresting figure, using two of her three sisters against her, by measuring her presumed weaknesses against their strengths. This self-serving fiction is still widely accepted.In the first comprehensive biography of Catherine Dickens, Lillian Nayder debunks this tale in retelling it, wresting away from the famous novelist the power to shape his wife''s story. Nayder demonstrates that the Dickenses'' marriage was long a happy one; more important, she shows t

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Approximately 100 letters are published here for the first time, including almost all of the letters to Jane Humphrey and to Mrs. J. Howard Sweetser. The new material is even more extensive than it might appear, for many of the letters previously published were censored when first made public. This volume, designed to accompany Mr. Johnson’s previously published work, the widely acclaimed Poems of Emily Dickinson, assembles all of Emily Dickinson’s letters (with the exception of letters presumably destroyed). The editors present the letters chronologically, with manuscript location, previous publication data, and notes for each letter, together with a general introduction, and biographical notes on recipients of letters.The notes for each letter identify persons and events mentioned, and the source of literary allusions and quotations is given wherever known. Since Emily Dickinson rarely dated her letters after 1850, the dates for the most part must be conjectured from careful study of handwriting changes and from internal evidence of the letters. Of the 1,150 letters and prose fragments included in this outstanding edition, the text of about 800 derives from Dickinson autographs.

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A charming memento of the Victorian era's literary colossus, The Daily Charles Dickens is a literary almanac for the ages. Tenderly and irreverently anthologized by Dickens scholar James R. Kincaid, this collection mines the British author's beloved novels and Christmas stories as well as his lesser-known sketches and letters for "an around-the-calendar set of jolts, soothings, blandishments, and soarings." A bedside companion to dip into year round, this book introduces each month with a longer seasonal quote, while concise bits of wisdom and whimsy mark each day. Hopping gleefully from Esther Summerson's abandonment by her mother in Bleak House to a meditation on the difficult posture of letter-writing in The Pickwick Papers, this anthology displays the wide range of Dickens's stylistic virtuosity-his humor and his deep tragic sense, his ear for repetition, and his genius at all sorts of voices. Even the devotee will find between these pages a mix of old friends and strangers-from Oliver Twist and Ebenezer Scrooge to the likes of Lord Coodle, Sir Thomas Doodle, Mrs. Todgers, and Edwin Drood-as well as a delightful assortment of the some of the novelist's most famous, peculiar, witty, and incisive passages, tailored to fit the season. To give one particularly apt example: David Copperfield blunders, in a letter of apology to Agnes Wickfield, "I began one note, in a six-syllable line, `Oh, do not remember'-but that associated itself with the fifth of November, and became an absurdity." Never Pecksniffian or Gradgrindish, this daily dose of Dickens crystallizes the novelist's agile humor and his reformist zeal alike. This is a book to accompany you through the best of times and the worst of times.

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Dickie is a loser. He is constantly betrayed by his own shortcomings, desires and naivety, crushed by the indifference of the world in these one-page silent cartoons. Originally published in Belgium over 20 years ago under its Flemish name ''Boerke'' by Nanuq.be, the comic is well known for pushing boundaries and challenging traditional comic norms. Pieter de Poortere''s storytelling skills and creative genius have earned Dickie a devoted following and critical acclaim. Now his wonderfully cynical humour and innocent graphic style can also be enjoyed in silent English.

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The intriguing history of Dickens's London, showing how tourists have reimagined and reinvented the Dickensian metropolis for more than 150 years

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Kim Dickey: Words Are Leaves is the first major monograph on Denver-based artist Kim Dickey (born 1964), published on the occasion of a midcareer survey of Dickey’s work at MCA Denver. The book presents Dickey’s sculpture and works on paper, as well as her film and performance-based works. Essays explore the conceptual, historical and aesthetic concerns that have driven Dickey’s practice for three decades: her ongoing study of pattern and decoration, interest in landscape design and the history of the garden, feminist politics and references to various historical art styles and schools, ranging from medieval tapestry to Minimalist sculpture. Words Are Leaves illustrates how Dickey’s reconsideration of craft and pattern brings the decorative to the fore, and to life.

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12 notecards (4 quotes, 3 of each) and 12 envelopes (4 designs 3 of each)

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Watch the mouse run up and down the clock in this interactive board book based on the beloved children’s song. With five slider mechanisms and a QR code that links to both instrumental and vocal versions of the song, little ones can simply scan the code to listen and sing along.

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James Dickey: The Selected Poems is the first book to collect James Dickey's very best poems. Like many visionary poets of the ecstatic imagination, Dickey experimented in a wide variety of literary styles. This volume brings together the finest work from each of the periods in Dickey's extremely controversial career. For over three decades, until his death in 1997, Dickey was one of the nation's most important poets; these are the poems that brought him a popular readership and critical acclaim.

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