Selected Journalism: 1850-1870 (Penguin Classics)

Selected Journalism: 1850-1870 (Penguin Classics)

Charles Dickens

Language: English

Pages: 688

ISBN: 0140435808

Format: PDF / Kindle (mobi) / ePub

Selected Journalism: 1850-1870 (Penguin Classics)

Charles Dickens

Language: English

Pages: 688

ISBN: 0140435808

Format: PDF / Kindle (mobi) / ePub


A testament to the energy and creativity of a writer and journalist without equal

Throughout his writing career Charles Dickens was a hugely prolific journalist. This volume of his later work is selected from pieces that he wrote after he founded the journal Household Words in 1850, up until his death in 1870. Here subjects as varied as his nocturnal walks around London slums, prisons, theatres and Inns of Court, journeys to the continent and his childhood in Kent and London are captured in remarkable pieces such as 'Night Walks', 'On Strike', 'New Year's Day' and 'Lying Awake'. Aiming to catch the imagination of a public besieged by hack journalism, these writings are an extraordinary blend of public and private, news and recollection, reality and fantastic description. David Pascoe's introduction traces the development of Dickens's career as a journalist and examines his fusion of real events with flights of fancy. This edition also includes explanatory notes, a bibliography and a Dickens chronology.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

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legs were difficult of administration in a narrow space, as never being the right legs in the right places, has regarded me, at first, with looks of envy. When the little boys have indecorously inflated themselves out of the seltzer-water bottle, I have seen discomfiture and social shame on that Mooninian’s brow. Meanwhile I have sat majestically using my tooth-pick, in silent assertion of my counterfeit superiority. And yet it has been good to see how that family Mooninian has vanquished me in

(Household Words, 11 October 1856) The Best Authority (Household Words, 20 June 1857) AMUSEMENTS OF THE PEOPLE The Amusements of the People (Household Words, 30 March and 13 April 1850) Some Account of an Extraordinary Traveller (Household Words, 20 April 1850) Old Lamps for New Ones (Household Words, 15 June 1850) The Ghost of Art (Household Words, 20 July 1850) Epsom (Household Words, 7 June 1851) Betting-Shops (Household Words, 26 June 1852) The Spirit Business (Household Words, 7

above, their looks are sullen, but not a man speaks. We ascend again. Bark has got his trousers, and is in a state of madness in the passage with his back against a door that shuts off the upper staircase. We observe, in other respects, a ferocious individuality in Bark. Instead of “STOP THIEF!” on his linen, he prints “STOLEN FROM BARK’S!” Now, Bark, we are going up-stairs! – No, you ain’t! – You refuse admission to the Police, do you, Bark? – Yes, I do! I refuse it to all the adjective police,

Twenty. You’re right. And nine? DULL YOUNG MAN (after great consideration). Twenty-nine! PUPIL TEACHER. Twenty-nine it is. And nine? RECKLESS GUESSER. Seventy-four! PUPIL TEACHER. (drawing nine strokes). How can that be! Here’s nine on ’em! Look! Twenty-nine, and one’s thirty, and one’s thirty-one, and one’s thirty-two, and one’s thirty-three, and one’s thirty-four, and one’s thirty-five, and one’s thirty-six, and one’s thirty-seven, and one’s what? RECKLESS GUESSER. Four-and-two-pence

his civilised audience to take notice of their symmetry and grace, their perfect limbs, and the exquisite expression of their pantomine; and his civilised audience, in all good faith, complied and admired. Whereas, as mere animals, they were wretched creatures, very low in the scale and very poorly formed; and as men and women possessing any power of truthful dramatic expression by means of action, they were no better than the chorus at an Italian Opera in England – and would have been worse if

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