Category Archives: Charles Dickens

A Look at Charles Dickens’ Thoughts on America

This being his birth month, we couldn’t possibly let the month go by without a blog on our main man – Charles Dickens. Our Victorian celebrity gifted the world with timeless tales of love, loss, and, of course, the occasional ghostly visitation (what happy, holiday story would be the same without one?). Did you know though, that when it came to his adventures touring in America, Charles was full of wit and humor… and dismay, at our strange American customs? If not, buckle up – you’re in for a ride! (Yet another American idiom he probably would have hated!)

First on Dickens’ list of American annoyances was the peculiar trait of what he called “Yankee Doodle Dandies” – who chewed tobacco with (apparently) all the grace of a cow chewing cud. Dickens was disgusted at the sight of fully grown men spitting wads of brown gunk on the sidewalks like it was going out of fashion. He wrote about this disturbing habit, “One wonders if they mistake the streets for spittoons or simply enjoy adding a dash of rustic charm to the pavements.” Honestly? Yuck – he’s not wrong.

Dickens also couldn’t help but poke fun at what he perceived as a showy nature of American hospitality. “In England we’re content with a pot of tea and a biscuit, but in America, one must navigate a veritable maze of gilded mirrors and chandeliers just to find the water closet!” How difficult it must have been for him, trying to find his way through lavish mazes of American excess! (I have seen Downton Abbey… who is he calling excessive?!)

And of course, one can not forget Dickens’ abhorrence for general American cuisine! The man who wrote descriptions of an amazing amount of delectable Christmas feasts found himself absolutely disconcerted by our culinary creations. From “chili con carne” (delicious – did he even try it?) to an apparently confounding combination of turkey and cranberry sauce, Dickens found his stomach not in agreement with American cooking. Not to mention our sheer nerve: “One can only wonder at the audacity of a nation that serves pie without custard!”

Despite all of his reservations at our strange customs and interesting inventions (I would consider turkey with cranberry sauce an invention, after all), Dickens nevertheless had moments of true admiration for the people of the United States. He appeared impressed by the spirit of democracy that seemed openly expected and understood by all the people he met here on his travels, and he found the general optimism of our nation delightful. I suppose his final conclusion was that “America may be a land of eccentricities and culinary calamities, but it is also a land of opportunity and innovation – a place where even the most unlikely of dreams can take flight.” Hear, hear!

The Dangers of Pip’s “Great Expectations”

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Charles Dickens - Portrait of the British novelist.

During this week of Dickens’ 209th birthday, we thought to do a short exposé of sorts into one of his most famous works. Great Expectations has captured the hearts and minds of millions since its publication in 1860 with its story of presumptions, manipulations, love and fear. The novel centers on young Pip as he follows dreams that seem outside his reach, and his actions once his dreams are made a reality. But what can we learn from this beloved story that may still be relevant today? More than you might think!

pip magwitch Starting with a short overview of the story (for the .000001% of you that have been living under a rock these past 160 years), we can come to look at the “expectations” housed within and see what we can decipher from the moral tale it holds. When young orphan Pip encounters an escaped criminal hiding in a churchyard one Christmas Eve, it gives him the fright of his life. The young boy is scared into thieving for the convict, and though the criminal is recaptured and clears Pip of suspicion, the incident colors Pip’s outlook on life. The young boy is sent to the house of the spinster and slightly mad Miss Havisham, to be used as entertainment for the lady and her adopted, aloof and haughty daughter Estella. Pip falls in love with Estella and visits them regularly until he is old enough to be taught a trade as an apprentice blacksmith. Four years into Pip’s apprenticeship, however, a lawyer arrives with news that Pip has anonymously been provided with enough money to become a gentleman. An astonished Pip heads to London to begin his new life, assuming Miss Havisham is to thank for his unexpected new windfall. Once in London the young Pip is introduced into some society, and makes new friends. His heart still belonging to Estella, he is ashamed of his previous life and expects his social advancement, new wealth and sudden social standing to sway her emotions towards him more favorably. It does not, Estella remains cold as ever, and Pip’s illusions are finally shattered when he realizes that his benefactor is not Miss Havisham at all, but the escaped convict Magwitch whom he helped in the churchyard all those years before. Through many mishaps and misfortunes, Pip and his friends attempt to help Magwitch escape England (which is ultimately unsuccessful), where he had returned to simply to make himself known to Pip. Pip learns valuable lessons throughout the story – interestingly not necessarily from those with money and social standing, but more often than not from those in his own class. The story has a kind ending, with Pip and an altered, warmer Estella walking hand in hand over a decade after her initial rejection of him (though Dickens originally planned a more likely, yet more disheartening end to the story and was convinced by Edward Bulwer-Lytton to change it).

So what qualities does Pip have that give the book its title? Pip’s expectations are common in most of us, whether living in Dickens time or the here 21st century… Pip wants social advancement and wealth. He wants to be taken seriously and not looked down upon. He has a lifelong ambition to be something he is not, and when he is finally able to be such (wealthy and more respected), he finds it is not at all everything he ever dreamed of. By the end of the story, Pip certainly realizes that the qualities of loyalty, kindness and compassion are far more important than wealth and social standing. With the shadows that come to light in the story, Dickens mocks the very hypocritical idea of the “gentleman” as every man you meet in the story is not exactly what you think he is. With this realization, Pip finds he has chased a phantom dream, not a concrete one.

How do we see these expectations still in use today? Though “society” is not necessarily the boon it once was (I find the people who truly care about society are the ones in “society”… and the bulk of the population of the world outside it could really give two figs), aspects of the circumstances they enjoyed are still very much at large within us. Wealth, for instance, matters to most – not only is the cost of living in certain areas astronomical, but our materialistic society makes it more difficult for any to be raised without the wishes of privilege. Oftentimes, the factor of wealth is seen today in desperate competitiveness or harsh attempts for a raise or a promotion, even when one is happy and competent at their current job. A desire for the finer things in life leads most of us to spend money we shouldn’t, or don’t even have, in order to feel a sense of gentility or even simple belonging, when in reality it isn’t necessary! (Keep in mind Travis Bradberry’s thoughts on the matter: “Sure, things can make life more fun and comfortable in the short run, but they can’t make you happy in the long run. Too many of us expect a future event [‘I’ll be happy when I get that promotion’] to make us happy, instead of looking more deeply into the real causes of our unhappiness. If you don’t fix what’s going on inside, no external event or item is going to make you happy, no matter how much you want it to.”) Our desires for respect are more understandable and able to be grasped, as a focus on gaining people’s trust and respect is hardly a quality to look down upon. As long as it is gained through acts of loyalty, kindness and compassion, you can’t go wrong!

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Perhaps we ought to keep these moral tales from Great Expectations in mind as we (very) slowly move into a post-Covid world. We may have to get back into the swing of things, but we can choose to re-focus our energy on the important things, rather than the silly. After all, if we’ve learned anything this year, I believe it is that the most important things in life are family, friends, respect, kindness and health… none of Pip’s “great expectations” factor in whatsoever!

See our holding of All the Year Round (1859-1868) containing the first appearances of both A Tale of Two Cities and Great Expectations here! It is certainly a sight to behold.

AN AGENT OF CHANGE

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On this auspicious occasion – the 150th Anniversary of Dickens’ death – there is no shortage of notional blog topics. We could discuss the strange diet he had on days when he did his public readings (a raw egg beaten in a glass of sherry was part of it), the curious nicknames he had for his children (“Skittles” was probably a joy – who knows what went wrong with “Lucifer’s Box”), or perhaps the ivory toothpick he once used that sold at auction for $9,000.

Given everything going on in the world at the moment, we decided to give whimsy a pass and focus on a single, defining aspect of Dickens. Relevance.

As an author – arguably the most famous in the world during his lifetime – Dickens was well-known and widely read. But that can be said of many authors in many times. Part of what continues to make Dickens fascinating was how he leveraged both his literary gifts and the attention they commanded. Despite his many faults, Dickens was a force for positive social reform and change. One might even argue that for his time, he was a radical agent for social change. It seems a good time to talk about how one man used his pen to give voice to those without one, to infuse entertainment with informing empathy, and to leverage personal fame to help others less fortunate than himself.

It is impossible to look at Dickens’ interest in the poverty-stricken, down-trodden members of society without a brief introduction to his early life. Charles John Huffam Dickens was born on the 7th of February, 1812 into a modest Portsmouth household that boasted his mother, father, and an older sister. Dickens’ father was a clerk in the Navy Pay Office, and for a time the family enjoyed a modest but happy life – a lifestyle some have referred to as “gentile poverty”. At just three years old, the young Charles and his family relocated to bustling London, where his father was transferred after the end of the Napoleonic War. London proved to be a difficult life for the constantly growing family, and the charismatic John Dickens began to fall into serious debt.

At the age of twelve, young Charles was packed off to Warren’s Blacking – a boot polish manufacturer. For a time, the young boy would work from early morning until late into the night. However, soon after Charles began work his father was arrested and the entire family moved into debtor’s prison. It was only after John Dickens’ mother died, leaving behind a small inheritance for the family to pay their debts and survive on, that they were able to leave Marshalsea Prison. This period would have an immense impact on Charles Dickens’ view of the world and on his writing. He would never forget the way being so unspeakably poor had opened his eyes to the world. In short, Charles Dickens lived a truly “Dickensian” childhood, surviving in extremely poor social conditions. Though the term may have been coined based on the living conditions of characters in his books, we can see that Charles did not invent the lifestyle – nor did he have to imagine it.

Skipping ahead, after Dickens achieved success with his writing (after all, the point of this blog is to bring attention to his efforts in social reform, not to his literary successes), we see Dickens becoming an advocate for many of the less fortunate. The Victorian period in England saw many advances in industry and technology – creating a rising tide of urbanization. Industrialism was at its height, but the division of wealth between the wealthy aristocracy and the poor was beyond considerable. The working class was on the rise, true, but the poverty stricken lower class life experience would be considered untenable today in the western world. The extortion of child labor, abuse of labor practices in general, homelessness and/or a lack of sanitation in housing, prostitution and general squalor were only some of the problems facing the lower classes in Victorian England. Though many upper class citizens remained ignorant of these many difficult subjects, Dickens chose to write about them. And because he did so with compelling craft and deeply engaging stories, he was able to command attention that no conventional soapbox could rival.

Combining his skills of humor and satire with a keen observation of society at large, Dickens brought attention to the many injustices against the downtrodden in Victorian England. He did not just write about them fictionally, however. When he could, he donated his own money. When he couldn’t, or wanted to do more than simply contribute cash, he pushed the wealthy to donate their time and resources. Most often, however, he used his fame and celebrity, but most of all talent to aid charitable institutions. Dickens was no stranger to giving speeches, performing readings, or writing articles for causes he believed in. Over his lifetime, he in some way supported at least 43 charitable institutions. Some of these included the Poor Man’s Guardian Society, the Birmingham and Midland Institute, the Metropolitan Sanitary Association, The Orphan Working School, the Royal Hospital for the Incurables, and the Hospital for Sick Children.

One of Dickens’ most well-known and sustained philanthropic efforts was his work with the notable (and extremely wealthy) Miss Angela Burdett Coutts. The two met and became close friends in 1839, and were in contact for many years before Dickens approached her with an idea – a home for homeless and “fallen” women. Dickens wanted to get these women off the streets – many of whom had turned to a life of prostitution to survive – and teach them skills to make a living or marry and have a family. Dickens oversaw every part of this project – from finding the home to helping pick out candidates. Urania Cottage, as it was called, provided safety, a home and support to homeless and fallen girls and turned out dozens of recharged women over a ten year period. Until a rift with Coutts developed in 1859, Dickens worked tirelessly on behalf of his charity for women.

Now, Urania Cottage is just a single example of Dickens’ generosity. He gave to organizations, institutions, and even to families and individuals as often as he could. We have already mentioned how he was able to use his talents in both writing and readings to bring attention and awareness to difficult subjects. He also put forth tireless efforts into the Field Lane Ragged School – a school for destitute children, run by Evangelicals. Though Dickens had reservations about the religious leader of the school, he enthusiastically gave his time, money and resources into creating a safe space for these children to learn “religious instruction, elementary education, training in trades and food” (J. Don Vann) through volunteers in evening classes. He believed in free education, and thought that through equal (and therefore free) tuition throughout England, crime and destitution would decrease. He was not wrong.

The take away from these stories is this… here was arguably the most famous writer in the world since Shakespeare, scouting homes and schools himself for the poor and the homeless, using his time and influence to gain money and support, and keeping involved in the running of the charities even after they were set up. Dickens was not simply an armchair philanthropist. He put himself in the thick of it and wanted desperately to make a difference. Though scholars have occasionally thought it impossible to legitimately trace any direct reform legislation to Dickens’ work, there can be no doubt that he opened up discussions and used intelligence and humor to bring attention to social abuses and system deficiencies. Charles Dickens showed us one path that could be used to direct change – not the only path.

Though as Dickens scholars and purveyors of his work we adore the satire and intelligence of his literature, we realize this does not absolve him of any wrong doings in his personal life and sphere. We are not, under any circumstances, promoting Dickens as the perfect humanitarian. As we stated earlier, he certainly had his faults. But what we can learn from Mr. Dickens, especially in a time such as this – a time of radical positive change, but also of confusion and pain – is that nothing at all will happen if we don’t first put forth the effort.

As actor and Dickens scholar Simon Callow once said: “The reason I love him so deeply is that, having experienced the lower depths, he never ceased, till the day he died, to commit himself, both in his work and in his life, to trying to right the wrongs inflicted by society, above all, perhaps by giving the dispossessed a voice… From the moment he started to write, he spoke for the people, and the people loved him for it, as do I.”

Further Dickens reading & information:

Dickens in a Crisis 150th Anniversary YouTube video

Bleecker Street Media

Denton Dickens Fellowship

The Beginnings of Tavistock Books

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For those of you who don’t know, we deal in many genres of antiquarian materials. However, one of our specialities – and even our shop’s name – come from a wildly famous author who we happen to adore… Mr. Charles Dickens. As the author is very often associated with the holiday season, we thought now might be a good time for a little Q&A with our President, Vic Zoschak Jr., on his love of Dickens and the beginnings of Tavistock Books. Enjoy!

Tavistock House, London.

Q: Vic, could you take our recent followers on a mini journey as to our shop name? I remember getting the question of whether or not your last name was Tavistock!

tavistock2 Yes, over the years, I’ve often been referred to as “Mr Tavistock”, but the name actually, rather than being my surname, has a [small] Dickens connection… back in the late 80s, as I contemplated opening my own business, I cast about for a name that would reflect my firm’s interest in Dickens, but didn’t want to be too overt in that regard.. you know, nothing like “The Old Curiosity Book Shop”, or anything like that. So, long story short, I settled on Tavistock, the name of Dickens house in the 1850s, which was situated on Tavistock Square.

Q: So why Dickens? He is obviously a world-famous writer of course, but what about his writing spoke to you, and what made you want to name your store after his house?

Well, back in the mid-to-late 80s, while living in Sacramento, I was in a reading group that read, as one of our books, Dickens’ Pickwick Papers. While I personally don’t consider that his best novel, what that reading did do was spark an interest in the author himself. And in pursuit of knowing more about the man, I [luckily] happened across what I consider to be the best biography of Dickens, Edgar Johnson’s Tragedy And Triumph. On reading that biography, I found Dickens to be a fascinating individual, a genius, which precipitated my dive into that gentle madness known as book collecting. I collected Dickens from the mid-80s until I opened my shop in July 1997, at which point I used my personal collection to stock the Dickens’ Corner here at 1503 Webster Street.

Q: What is your favorite of the Dickens novels and why? Favorite character in any of them?

Favorite novel is Hard Times. Many of Dickens’ novels required “32 pages of letterpress” every month, and so often, like in Pickwick Papers, there are literary diversions therein to fill up space…. I don’t see that in Hard Times. It’s spare, it’s lean, it’s all about the facts.

As to characters, like many, I’m partial to Mr. Micawber, the lovable impecunious fellow from David Copperfield.

Q: Is it true that you refuse to watch Dickens-related cinema? Interesting choice! What are your thoughts behind that decision?

True. Dickens’ words call up a mental image of each & every character he’s created. I found that when I watched a film interpretation, my mental image of a given character, e.g., Nicholas Nickleby, engendered by Dickens’ prose was replaced by the individual cast by whatever director was filming whatever version of Dickens’ works. In comparison, I found I preferred Dickens’ version. FWIW, he would only allow images approved by him, and as such, they are truly Dickensian.

Q: And last but not least… who was your favorite ghost in A Christmas Carol and why?

Ah, tough question Ms P!! I think I’ll go with the “Ghost of Christmas Yet to Come”. With these visions, Scrooge realizes his future can change. That’s powerful stuff, knowing one can change one’s future.

And you know what, Ms P – it’s been a few years since I’ve read this popular novella. I think I’ll revisit it this season… it’s time.

~ Happy Holidays ~

Happy Birthday to the Most Irritating Houseguest Charles Dickens Ever Had

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Hans Christian Andersen was born in Odense, Denmark, on the second of April, 1805. As a small child, Andersen’s father read to him Arabian Nights – thus introducing the young child to both classic literature and what one might deem a “fairy tale”. At the age of 14, he moved to the capital to become an actor – and though he was accepted into the Royal Danish Theatre… once his voice changed the school advised him to focus instead on becoming a poet… a suggestion that he later turned into authorship.

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Fairytales seemed to be part of Andersen’s literary journey from the beginning, as several of his early stories revolved around tales he heard as a child himself. By the age of 30, Andersen was already writing profusely and showing his work. In fact, in 1833 at the age of 28 he had already received a small travel grant from the king of Denmark to travel through Europe and log the stories he found there. And, well… write he did!

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Andersen is most well-known for his fairytale translations, no one can deny this fact. In 1835 he published the first two installments of his Fairy Tales, with the second installment arriving only two years later. Unfortunately, his collection which included tales such as The Princess and the Pea, Thumbelina, The Little Mermaid, and The Emperor’s New Clothes did not sell well at first. Part of the problem was in the translations of these well-known stories. Andersen’s ability to write did not cover his lack of innate foreign language skills.

After honing his skills and continuing to publish fairy tales for ten years, Andersen finally had a breakthrough in 1845 after his translation of The Little Mermaid appeared in Bentley’s Miscellany (a periodical). Soon after, his story was published in a few volumes following its reprint, including Wonderful Stories for Children. A review of the story was published in The Athenæum in London in February of 1846, and the review sang its praises as “a book for grandfathers no less than grandchildren, not a word of which will be skipped by those who have it once in hand.” Andersen became a king of fairytales (of sorts) and would continue translating and publishing them until 1872.

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During his heyday of publishing fairytales from around the Europe, Anderson published various travelogues that he had written during his many journeys abroad while accumulating stories for his collections. Though his travel journals do approach the subject matter in a similar way to his contemporaries’ travel journals, singularly he used his own strengths to expand the style to meet his own requirements. He combines factual evidence and graphic/detailed reports of his experiences with more reflective and meditative verse on various concerns, including his authorship, the issue of timelessness, and the essence of works of fiction in the travel writing genre. His travelogue In Sweden even contains local fairy tales! (The man just didn’t know how to take a break…)

In 1847 a most happy occurrence happened for Andersen – he traveled to England for the first time and enjoyed resounding success among his fairytale fans. Andersen was able to meet one of his idols, one Charles Dickens, at one of the many parties of a Countess of Blessington. Both authors resonated on certain levels – they were both immensely popular (though Dickens more so, of course), and both took the time to portray citizens of the lower classes in their works. A decade later, Andersen visited Dickens at Gads Hill Place, Dickens’ home – a visit which unfortunately turned into an over-extended stay of over five weeks. Dickens and his family were dismayed that their Victorian politeness allowed a man, even one as highly respected and liked as Andersen, to overstay their welcome by so long. (Read our blog on the extended stay here.) Eventually Andersen had to be asked to leave, and Dickens stopped communication with the author, much to Andersen’s confusion.

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When Andersen turned 67, he took a tumble out of bed and unfortunately was never able to recover from his injuries. Andersen developed liver cancer shortly thereafter and died surrounded by friends (having never married). He was internationally esteemed at the time of his death, and to this day his name immediately recalls international fairytale stories to all of our minds! Happy Birthday to the king of fairy tales, Hans Christian Andersen!

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New Acquisitions for Your Viewing Pleasure

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The recent fairs have given us a fair amount (pun intended) of new inventory! As we haven’t posted one in a while we thought it might be nice to give you an in-depth look at some of our latest and greatest… though there are many more ready to go home with their new owners! Check out our website’s categories for more info on these and other awesome titles.

We would be remiss in sending our hometown book fairs love without beginning this blog with one of our favorite local finds! DeWitt’s Guide to San Francisco was published in 1900, and is illustrated by nearly 20 engravings! The city guidebook lists tourist sights, hotels, restaurants, banks, businesses, churches, clubs, schools, etc. Love San Francisco? Perhaps you should see what has changed in the last 118 years! See it here.

This cabinet card photograph depicts three young girls, most likely of the Utes tribe, where they resided in the southern end of Colorado. The photograph itself is circa 1890s, when the town of Rouse, Colorado (now a ghost town) was home to, what was in 1888, the largest coal mine in the state. View this amazing piece of 19th century photographical history here.

This 1890 edition of The Care of the Sick has a beautiful gilt illustrated binding – and is a solid Very Good copy of this handbook for Nurses, detailing care for the ill both at home and in the hospital. You love nursing material as much as we do? Check it out here!

We also have a pretty spectacular collection of children’s series books – Nancy Drews, Tom Swifts… Hardy Boys? All can be found on our website and on our shelves! Some series books are not quite so well known as these, however… like this copy of The Bobcat of Jump Mountain. Part of the Boys’ Big Game Series, this title was published in 1920 and our copy still has its original dust jacket! Did we mention it is signed and inscribed by the author, the year of publication? See it here.

Now this may look like nothing special, but in fact these two volumes make up a first US edition of Oliver Twist… and we would be remiss Dickens specialists indeed if we did not include one of his titles in this list! Now certainly Oliver Twist needs no description to provide its storyline or enforce its importance… so let’s just say that this rare set is not often offered in the trade. See it here.

Kind of a strange leap from our classic main man, but here offered as well is a 1941 1st edition of rogue author Henry Miller’s The World of Sex. Bibliographers Shifreen & Jackson have speculated that the 3 states of the first [ours given priority] runs of this work may each have had a run of 250 copies. This first state binding is increasinly uncommon, especially in its original jacket – as ours is! Expand your horizons here.

And while we’re on the subject, here is another fun find from the fairs! We almost feel like the mid 20th century Gilbert Vitalator requires no explanation except for their own marketing! With this vibrator attached to your fingers… “…you’re ready for the thrill of your life. Press your fingers against your body on the spot you wish to massage, and flip the switch. Things happen quickly here, but they can be explained slowly. The Vitalator sets up a vibration which travels to your finger tips and flows through them to your body. But it is not merely a vibration. If you had a pencil in your fingers, set to paper, it would be tracing tiny ovals with lightning rapidity. This rotary movement – this “Swedish massage” action – in the secret of Vitalators superior benefits.” Woohoo! Can be used by men and women, apparently. See this funny body massager here.

This poem, Dickens in Camp was written by Bret Harte shortly after Dickens’ death in the 1870s. Published in a fine press edition in 1923 by John Henry Nash in a run of only 250 copies… and it is signed by the famous publisher! Check out this wonderful tribute to our main man here.

This Red Cross WWII campaign promotion poster advertises Toys for Kiddies – an initiative where patients in military hospitals designed and created handmade toys for children in homes and orphanages at Christmastime. With the materials provided by the Red Cross, apparently the men spent months making and competing to produce the most creative children’s toy of the season. See this 1940s broadside here.

Last but not least, we offer as a tribute to the wonderful OZ themed California fair just a couple weeks ago this beautiful 1st edition, 1st printing of Frank L. Baum’s The Woggle – Bug Book, inscribed by the author to one Ruth Bailey Ingersoll in 1905 – the year of its publication. Said by bibliographer Bienvenue to be “remarkably difficult for collectors to find, particularly in good condition. … the large book is one of the most delicate and ephemeral of all Baum’s publications”, we are lucky enough to offer a very pleasing Very Good copy of this unusual early Baum title here at Tavistock Books! Check it out here.

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We hope you’ve enjoyed this brief list of some fun new items on our shelves! Stay tuned throughout the rest of book fair season to see more of them.

Why We Should Thank Charles Dickens on His Birthday!

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Every year we post a blog about Dickens around this date… it is his birthday, after all! What better way to honor our main man than keep his writing and memory alive? This year we thought we’d do something a bit different – instead of a long rambling blog about some aspect of his life, we thought we would remind you of a few ways that you see Dickens’ influence every day!

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Happy 206th birthday, Chuck!

Dickens re-built Christmas.

True, Prince Albert (of Albert and Victoria) is often given the credit for reviving the Christmas holidays and traditions – he was the instigating factor in setting up a Christmas tree for the royal family! However, Dickens’ depictions of Christmas and the season at the time certainly helped people around the world begin to see Christmas as a time for joyous celebration with their loved ones!

Dickensian.

Where would we be without this word, which has become a household term for a deplorable level of poverty and poverty stricken folk.

“It is a far, far better thing that I do…”

Many people attribute current celebrities ability and humor in characterizations and voices from Dickens! One of his interesting habits was to do all the voices of his different characters during his reading tours. Often, it was the way the characters spoke and expressed themselves that made the lines humorous. As Professor John Mullan of University College London said, “Quite a lot of the time, if you were simply to describe the plot situation of one of the set pieces that you find very funny, it’s not very funny at all… But it is very funny. The extraordinary thing he does introduce to the novel is the comic potential of the way people talk.” Voila!

And we couldn’t very well have a blog thanking Dickens without bringing up some of the terms and phrases he brought us! Just think of these words, coined by none other than our main man!

Abuzz

The creeps

Flummox

On the rampage

Whiz-bang

Devil-may-care

Very cool, eh? Happy Birthday indeed!

Charles Dickens & the Beginning of “The Pickwick Papers”

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By Margueritte Peterson

Get yourselves ready for one of the most morbid (therefore, we celebrate it in high style) days of the year… the anniversary of Dickens’ death! Every year we do a Dickens blog around this day, though I prefer to think of it more as a celebration of life blog, rather than as a homage to his death. Last year we wrote about Dickens’ last (and unfinished) work, The Mystery of Edwin Drood. This year, with your permission, I would like to focus on one of his very first works – The Pickwick Papers.

To be completely honest, the Pickwick story never grabbed my interest as other works by our main man. No Great Expectations love story, no Christmas Carol morality lesson, no Tale of Two Cities history… what about it could be so enthralling? Now, in all fairness and honesty, I did not scramble to read The Pickwick Papers in order to write this blog. All the information in this blog is found via research. I’ll let you in on a little secret, however… after writing this blog, I just may have to pick it up and begin reading!

As we’ve stated in blogs past, Dickens didn’t begin his career desperate to become a writer. His first passion was to be an actor – and he (most likely, as it seems everything Dickens did he did well) very nearly got his wish – until he became ill before his first audition and was unable to perform. For reasons we may never know, Dickens did not try to book another audition and never attempted to become an actor again. Instead, he settled down as a political journalist in London. His first published collection of writings was called Sketches by Boz and consisted of various character sketches originally found in his periodicals. Sketches was immediately popular and Dickens rapidly gained success and fame.

One of the original illustrations by Seymour.

Here’s where the Pickwick story gets interesting. Amusingly enough, Pickwick was not an original idea by Dickens. Pickwick actually began when publishers Chapman & Hall asked Dickens to provide text to match illustrations by (somewhat) popular cartoonist Robert Seymour. Even Dickens later admitted that the idea was not his – that it was Seymour’s. However, the presumption that The Pickwick Papers would have amassed the popularity that it did without Dickens – is completely false.

[Now, I do hope that this blog does not come across as hating on our main man – not at all! I am not trying to say that Pickwick was not at all his idea, though it was what bought him much in the way of fame and success. (Though, that is, you know, technically true about how it all began.)] What I do aim to do with this blog is to bring to light a slightly tragic tale that isn’t well-known about the origins of the Pickwick Papers.

One of the more difficult scenes Seymour had to illustrate for Pickwick.

What is fact and known about the beginnings of the book is that after Chapman & Hall picked up on his idea, Robert Seymour was contracted to make 4 engravings for each written installment of the book (as usual for the time, they were published in installments) and he and the publishers chose Dickens to write the book alongside the illustrations. However, before the second episode could be completed, Seymour committed suicide in his home in Islington, following severe stress and a mental breakdown. The mental breakdown could, possibly, have had something to do with the very little monetary advance Seymour was paid for the Pickwick installments, and also with his struggle to illustrate according to Dickens’ text (according to sources at the time, Seymour envisioned a much more light-hearted tale than he ended up illustrating, at the beginning). In any case, Seymour did struggle with depression, and the somewhat ugly truth of the matter is that, after his death, when Dickens teamed up with “Phiz” to illustrate the rest of the text and introduced the Cockney character of Sam Weller, the series became immediately more popular and sold in much higher volume.

Check out our holding of Pickwick illustrations, circa 1837! See it here>

So what does this all mean? Truthfully, in my (not-so) humble opinion… it means… not much. It is a sad tale, that makes it sound a bit like Seymour got the short end of the stick, yes. However, I think that the fact that the series did not become interesting to readers until Dickens had full control of the text and the full cooperation of the illustrator – is important. We know Dickens was a performer, a writer, a journalist, and a well-known socialite (eventually)… perhaps we should agree that he possibly also knew what the people wanted! And though Pickwick might not have began with Dickens’ imagination, he was, ultimately, the one who truly brought the text to life. So on this anniversary of Dickens’ death, remember the man as he was – someone who immortalized stories, not just wrote them!

Adah Isaacs Menken’s Relationship with Charles Dickens: A Blog in Honor of his Upcoming 204th Birthday

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By Margueritte Peterson

“[Menken] is a sensitive poet who, unfortunately, cannot write.” -Charles Dickens

Adah Isaacs Menken died in Paris on August 10, 1868, only eight days before her collection of poems, Infelicia would be published. Dedicated to Charles Dickens, Infelicia highlights Menken’s complicated relationship with her literary contemporaries—and, perhaps, her unfailing talent for generating publicity. Details about Menken’s early life are difficult to corroborate because Menken herself told so many different versions of her story. Most experts agree that she was born on June 15, 1835 in Memphis, and that her given name was Adah Bertha Theodore. She moved to Lousiana as a young child, grew up there, and launched her acting career there. From Louisiana, Menken traveled throughout the South and West. Meanwhile, she launched her writing career with “Fugitive Pencillings,” which appeared in Texas’ Liberty Gazette and the Cincinatti Israelite.

The year 1856 brought the first of Menken’s multiple marriages, to Alexander Isaacs Menken. The two were (supposedly) divorced already when Menken entered her next marriage with prizefighter John Heenan in 1859. But Heenan and Menken separated shortly thereafter; Heenan was scandalized to find that his new wife was still legally married to her first husband. By this time, Menken had already begun traveling in bohemian and literary circles. A regular at Pfaff’s, Menken met Walt Whitman, who greatly influenced her work.

Menken in Mazeppa – where she caused quite a stir.

Soon Menken was “not known for her talent, but rather for her frenetic energy, her charismatic presence, and her willingness to expose herself.” Indeed, Menken’s primary claim to fame was her performance in Mazeppa. Menken played the role of a man, and in one scene she was lashed to the back of a running horse…wearing nothing but a flesh-colored body stocking.

The play debuted in Albany in June, 1861. Menken’s manager, Edwin James was a sports reporter for the New York Clipper (and a former lawyer who’d inspired the character of Striver in Tale of Two Cities.) James managed to get reporters from all six of New York’s daily papers to attend, along with reporters from three weeklies and two monthlies. Although the Civil War had already broken out, Menken’s performance grabbed headlines. Mark Twain saw Mazeppa at Tom Maguire’s Opera House in San Francisco. Though he had formerly dismissed Menken as a “shape actress,” her performance changed his mind. On September 13, 1863, he wrote a column called “The Menken—Written Especially for Gentlemen.” His assessment of Menken was less than sterling:

“Here every tongue sings the praises of her matchless grace, her supple gestures, her charming attitudes. Well, possibly, these tongues are right. In the first act, she rushes on the stage, and goes cavorting around after ‘Olinska’; she bends herself back like a bow; she pitches headforemost at the atmosphere like a battering ram; she works her arms, and her legs, and her whole body like a dancing-jack: her every movement is as quick as thought; in a word, without any apparent reason for it, she carries on like a lunatic from the beginning of the act to the end of it. At other times she ‘whallops’ herself down on the stage, and rolls over as does the sportive pack-mule after his burden is removed. If this be grace then the Menken is eminently graceful.”

At any rate, Menken continued to bring crowds to theatre after theatre. Always the shrewd self-promotor, she would arrive in a new city and immediately ensure that her photograph was hanging in every shop window. By now Menken had also gotten into the habit of inventing stories about herself. She also frequently exaggerated the extent of her relationship with famous figures, particularly those in the literary world.

Mazeppa opened in London on October 3, 1864. Charles Dickens attempted to attend an early performance, only to find that the show was already sold out. The ticket manager recognized Dickens and offered him a private box, but Dickens declined. It’s long been rumored that Menken used the incident as an excuse to meet Dickens, but it’s likely that Menken started that rumor herself. The two traveled in the same social circles, and Dickens may even have attended some of Menken’s “literary salons” at her rooms in the Westminster Hotel. But there’s little evidence to suggest a deeper relationship, and even the rumor of an association with Dickens would have bolstered Menken’s reputation.

Meanwhile, Menken’s connection to Dickens’ contemporary Algernon Charles Swinburne was anything but a rumor. Fearing that Swinburne had lost his interest in the opposite sex, his associates set him up with the sexy Menken. After Menken’s death, Swinburne would say of her, “She was most loveable as a friend, as was as as a mistress.”

A shot of the inserted facsimile letter in our holding of Felicia.

By 1868, Menken had published more than enough poems to publish a collection, which she titled Infelicia. Menken made another probably-calculated move: she dedicated the book to Charles Dickens, who by now enjoyed the Victorian equivalent of rockstar status in both England and America. The first edition included an engraved portrait of Menken on the frontispiece, along with a poem that Swinburne had written for her. It also included a facsimile of a letter that Dickens had supposedly written to Menken, thanking her for the dedication.

While Dickens did indeed thank Menken for the dedication, the facsimile was actually comprised of two different letters Dickens had sent to Menken. Thus this first edition was quickly suppressed, and subsequent editions don’t include the facsimile. This only added to the sensation that already surrounded the book. The dedication to Dickens left many speculating about the true nature of their relationship, and Menken’s untimely death had catapulted her back into the headlines.

Meanwhile, her relationship with Swinburne and the fact that the frontispiece bore a Swinburne poem led some to suggest that Swinburne or his assistant, John Thomson, had actually authored Infelicia. Critics soon pointed out, however, that the poems were riddled with flaws and simply weren’t that good. They eventually accepted the work as Menken’s, arguing that Swinburne was too talented to write it.

Infelicia went through a number of editions in England and America, mostly pirated. The book made its last appearance in 1902. It’s now quite rare to find a copy of Infelicia that bears that facsimile letter from Charles Dickens.

Dickens’ Final Chapter: The End of His Life and His Last (Unfinished) Work, The Mystery of Edwin Drood

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Charles Dickens was only 58 years old when he passed away. He had long pushed himself too hard for the love of his work and his followers, and in the summer of 1870 (June 9th, to be exact) he succumbed to the exhaustion and after experiencing a fatal stroke, was laid to rest. His work, however, has gone on to be remembered since, and the author has never been out of print. His final work, The Mystery of Edwin Drood, has long fascinated fans, as the murder mystery was unfinished at his death and Dickens never [formally] named the murderer. On this the 145th anniversary of the author’s death, we look at his last years and his final work – a novel that he persisted on writing, even while suspecting his end was near.

Dickens, toward the end of his life.

Dickens’ health began to decline when he was involved in the Staplehurst rail accident on June 9th 1865 (5 years to the day before his death, coincidentally). On his return from Paris with his young mistress Ellen Ternan and her mother, the train they were traveling on plunged off a cast iron bridge that was under repair. Luckily, the only 1st class carriage to remain on the track was that one in which Dickens was traveling. Until more aid arrived to tend to the victims, Dickens scrambled around the horrific scene offering brandy and a hat with water, looking after the dead, dying and wounded around him. The tragic incident cast a shadow on Dickens’ life – the horror and absolute panic he experienced led to sleepless nights and night terrors for the rest of his short life. Always the author, however, before leaving the scene of the accident he remembered his unfinished manuscript of Our Mutual Friend was on board and went back to retrieve it.

Though the Staplehurst accident could be viewed as the “beginning of the end” for Dickens, what truly sapped the author’s strength and health was his insistence on the readings that he provided for his fans all over England and United States. These readings were not Dickens merely climbing up to a stage and reading his work aloud to audiences. The author planned his every look and every nuance, practiced scenes until he had them perfect, and left an impression with his audiences that they had just seen the characters they knew and loved on the stage before them. Quite the actor, Dickens had auditioned for a stage career as a young man, but when a cold prevented him from making the tryout, he turned toward a journalism career. In any event, the public readings took much more out of him than his audience realized, and Charles Dickens slowly succumbed to the stress he placed on himself. His farewell readings, lasting from the 6th of October 1868 to the 22nd of April, 1869, took the last of his energy. He began to experience fits of giddiness and paralysis and even collapsed while on tour in Lancashire; Doctors ordered the rest of his “performances” to be cancelled. Dickens retreated to his house, Gad’s Hill Place, in Kent, and under instructions to rest and recover, he began work on what was to be his final novel, The Mystery of Edwin Drood.

Drood was set to be published in only twelve installments, a shorter publication decision than his usual 20 printed parts of a couple chapters each. Though Dickens supposedly mentioned that the murderer was $#&@%#^$ in the @&#^*#*$&@* with the $*#&@*#$& (wouldn’t want to “kill it” for the rest of you), that information is based on the statements of Dickens’ son and also of his close friend John Forster (not unimaginable divulges, but still not ever found to be public knowledge from the author himself). This open-ended story yielded an amazing treat to the public – the chance to finish a Dickens book themselves! Strangely, the first three attempts to complete Dickens’ original tale were written by Americans. The first of them, published in 1870, was more of a farce than a continuation, with the author not even trying to continue Dickens’ style or even storyline (he even magically transported the characters to finish their mystery in the United States ). The second attempt was slightly more serious, a New York journalist named Henry Morford liked the story so much that he traveled to Rochester and published his ending serially from 1871 to 1872, and allowed the character of Edwin Drood to survive the murder attempt. The third effort, which to me seems to prove the gullibility of humans, was written by a Vermont printer named Thomas James. James claimed to have been a “ghost-writer” of sorts (pun intended)… by channeling Charles Dickens’ departed spirit.

A performance of “Drood.”

In 1914, London’s ‘Dickens Fellowship’ held a mock-trial for Drood’s uncle John Jasper (oh, whoops… did I ruin it for you?). A group of well-known writers made up the characters (G. K. Chesterton stood as the judge, George Bernard Shaw the foreman of the jury, etc.). The jury returned with a ruling of manslaughter, and in a great dramatic ending, Chesterton “ruled that the mystery of Edwin Drood was insoluble, and fined everyone, except himself, for contempt of court.” (Wikipedia). There have been four film adaptations of the book, a two-part television drama, a radio reading, and perhaps most interestingly, a musical comedy based on the book. As to this latter, Rupert Holmes wrote the script, music and lyrics to the musical with a twist – at the end of the play, the audience decides by vote which of the characters is the murderer. Not only that, but the audience also picks a romantic ending between two characters of their choice! Holmes wrote alternate endings for every possible voting outcome, even the most unlikely. The actors must memorize and rehearse each possible ending before performing in front of a live audience with an opinion! The production, now titled “Drood,” was first performed in 1985 and was quickly opened on Broadway for a total of 608 performances. It won five 1986 Tony awards, including the award for Best Musical.

A theatre production of “Drood” when the audience is helping choose the ending themselves!

Now I may not be one for assumptions, but in my personal and ridiculously humble opinion I believe that Dickens would be ecstatic about this new development in the reading of his novel. As I said earlier, the author was always a fan of the stage and wore himself ragged engaging his audiences in a way that no readings had ever done before. In a way, above the movies and the television spots and the proposed written endings for the novel, the musical arrangement of his last and mysterious work with the alternate endings and the audience’s participation seems to me like exactly what the author would have wanted. Engagement, imagination and creativity as a group – just what Dr. Dickens prescribed.

In any event, Dickens clearly left behind a great impression on many future generations of readers and writers. His last work has sparked more investigation and speculation than any of his other works, due to the fact that it remained unfinished – an invitation for his admirers to become involved in a story of (partly) their own making. A more important notion to take away from his final days, however, is that the author loved his work and his readers so much that he didn’t stop working until the very end. And just think, all for our enjoyment! Even now, 145 years to his dying day, enthusiasts and admirers continue to devote their academic and creative minds to understanding the man and his final, unfinished novel.

A page from Dickens’ unfinished manuscript of The Mystery of Edwin Drood.