In bookstores and libraries, literary classics are a dime a dozen. There are so many different editions available of each that the problem becomes one not of finding a good read but of selecting the edition of it that's right for you. Charles Dickens is perhaps the most popular of the past masters. All his books are enormously entertaining, whether he's writing about the tragedies of this world or its travesties. His eye for the ludicrous is faultless; his representation of it in print is perfection. He never fails to paint on the canvass in our mind, with a few simple strokes, a comic character that resembles someone we've met somewhere, sometime in our lives. His characters are so real that he needs to do nothing more than describe their appearance briefly and then let them speak for themselves. They speak with all the dignity and importance we all feel in ourselves, yet they unwittingly disclose for the reader all the foibles we all possess ... and mistakenly think known only to ourselves. Likewise, when introducing tragic characters, Dickens prefers to offer brief but unerringly accurate descriptions of their build, demeanor, and dress, and then allow their own words and actions to speak for themselves. His creations elicit mirth and misery in us without fail as Dickens masterfully plucks the strings of our hearts.

Unlike most writers, Dickens is equally at home in both the short story and the full-length novel format. This is because his novels were serialized in periodicals in their first publications. Only later were they edited for book form. "Sketches by Boz" is an offering of Dickens's first attempts at writing for a living. It consists of 56 passages, most of which can be read in a single sitting of less than half an hour. These are divided into four sections: "Our Parish", "Scenes", "Characters", and "Tales". Of these, only the last contains fiction. The 44 nonfiction accounts are just as entertaining as their made-up brothers. In fact, I found them even more fun to read at times. Dickens only thinly disguised the identities of his victims while lampooning them, and as editor Dennis Walder so rightly points out, many of these descriptions would surely result in lawsuits for libel if they were published about public figures today.

This was my first experience reading a Penguin Classics edition of Dickens, and I was extremely pleased with it. The editor introduced "Sketches" with a few notes of academic and historical interest, a particular one of which I found to be of great interest as it finally answered a question I'd had for half my life: namely, where Dickens had acquired his nickname of Boz. But more important for today's reader of Dickens is the "Notes" section at the back of the book in which Mr. Walder defines Dickensian slang and explains the author's references to people, events, and places of early nineteenth century London. Much of Dickens's wit is lost on today's reader without such disclosures.

One of my favorite ways of reading a classic author is to collect all of his or her works and then read through them at a leisurely pace in the order they were written. I did this with Sir Arthur Conan Doyle with the intention of noting how his style developed over the years. I was surprised to find an unexpected benefit of that project: I was transported to those times and felt as I imagine one of Doyle's contemporary fans must have felt as he read each new Sherlock Holmes story. After finishing Doyle, I immediately began collecting Dickens for a similar project. "Sketches by Boz", being a collection of Dickens's first literary efforts, was of course the first in this series. The second Dickens book is "The Pickwick Papers", of which I have the Library of the Future edition. But after reading the Penguin Classics "Sketches", I'm determined to first replace "Pickwick" with the Penguin edition. The Penguin books are reasonably priced and well worth every penny.

This was a wonderful collection of all of Charles Dickens works! I highly recommend!

The inexplicably neglected 'Dombey and Son' is a stunning masterpiece of 19th century fiction. The invention and bravura of Dickens' use of language is astounding. Coupled with that is a wonderful insight into the introduction of the railways in Victorian England and the often oppressive, alienating powers of a rampant Capitalist system that forces itself above the values of family and personal relationships. In 'Dombey and Son', the dangers of equating business partnerships with social ones are vividly revealed. Coupled with all of this is the presentation of one of Dickens' most compellingly vile villans: Carker. You could call this book, and the ones that come after it, "Dickens' with Teeth" and it is 'Dombey and Son' that inaugurates this development in Dickens' writing. Read it. It's wonderful.

A previously posted review asks: "How can readers accept that a woman's happiness can be achieved either through living to make men happy OR through living according to one's conscience? Surely one of these characters deserves the author's condemnation yet neither clearly receives it." It is sad when a reader is so intent on pigeonholing complex, richly drawn characters into narrow politically correct categories that he or she misses out on joys of a wonderful novel like this. Florence is denied her father's love, blames herself, and strives harder for it. This is a psychologically accurate portrait of what such a child would do, not an example of "living to make men happy" that Dickens should have condemned or praised. Likewise as to Edith's "living according to her conscience," although in fact she fails to live according to her conscience, and hates herself for it. And another previously posted review says that "the ending is wonderful, and Dickens ties up the numerous subplots with the most delightful precision." I found the final 100 pages the only bad part of the book, as Dickens artificially ties up matters that he had no need to tie up; he should have ended the book sooner. But this is my favorite Dickens novel so far.

this novel, sitting as it does between dickens' early and late novels, captures the best of both dickens. it has the humor, grotesque characters, and melodrama that characterized the early novels, but it isn't without the unified structure, mature style, and psychological depth that were the hallmarks of his later books. it's one of my favorite dickens books (i've read 11 of them), and if it weren't for the length i'd recommend dombey as the place to start for someone looking to read chas. if 900 pages doesn't faze you then by all means dive in. if it does, then start with 'great expecations' instead. but be sure to come back to dombey. you won't be disappointed.

This book was written as one of four course texts for the Open University module, "Approaching Literature" but can be read on its own for leisure or independent study. Its subject is the rise and evolution of the genre known as the 'realist novel'.

In Part One, after introducing the genre and the historical background in which it arose as a dominant and popular form of literature, the book closely examines, in turn, the following works: "Pride and Prejudice", "Frankenstein", "Great Expectations", and "Fathers and Sons". There are also chapters addressing the theme of 'the Novel and Society' and examining the question, 'Can realist novels survive?'

Part Two includes theoretical essays and commentaries on the genre by literary critics such as Arnold Kettle, Marilyn Butler and Roland Barthes. Each of these critical commentaries were carefully chosen for their relevancy to the four novels being studied and for their accessablity to the non-scholar.

As it explains in the Preface of The Realist Novel, "the emphasis throughout is upon practice, not theory." This is good news to the university student - or anyone, for that matter - who is overwhelmed with the idea of reading tons of abstract essays on 'theory' (Structuralism, Modernism, Post-modernism, etc.) which are of little help when trying to apply the ideas to specific texts. The Realist Novel gently introduces the reader into critical analysis and theory by walking step-by-step through the issues surrounding each of the four novels. The language in this text is very accessable and does not assume the student is on a scholarly reading level. I recommend this book for anyone who is interested in studying the genre of the realist novel from a critical perspective, without being bombarded with an overload of academic theory.