Dickens at 200

A life in letters.

Today, it is 200 years since Charles John Huffam Dickens was born in Landport, Portsea to John and Elizabeth Dickens. The second of their eight children, Charles would go on to become not merely a novelist but the paradigmatic Victorian man of letters - journalist, essayist and prolific correspondent as well as novelistof his day.

As Robert Douglas-Fairhurst, author of Becoming Dickens, noted in an essay in the New Statesman in October, Dickens allows himself cameo roles in his novels, but without their turning into autobiography:

The best-known example is David Copperfield, whose initials reflect Dickens's in reverse, like somebody looking into a mirror, and who, over the course of the novel, encounters a mad second-hand clothes dealer named Charley, an ineffectual flute-playing schoolteacher, also named Charley, and Mr Dick, who is writing a "memorial" of Charles I. Similarly, A Tale of Two Cities revolves around physical doubles whom Dickens originally wanted to call Charles Darnay and Dick Carton, so that even their initials would reflect each other.

Dickens's "relationship" with his characters was also noted by Dostoevsky, as A N Wilson observed in a joint review for the NS of Douglas-Fairhurst's book and Claire Tomalin's biography:

"The person the writer sees most of is himself," the Russian wrote. "There were two people in him, he told me: one who feels as he ought to feel and one who feels the opposite. From the one who feels the opposite I make my evil characters . . ."

The Dickens bicentenary has garnered truly international attention. Here are just a few of the events and publications commemorating the man and his accomplishments:

  • The Prince of Wales and The Duchess of Cornwall visit the Charles Dickens Museum and attend wreath laying Ceremony at Westminster Abbey which features readings from Ralph Fiennes & Claire Tomalin
  • The British Council's 24 hour Global Dickens Read-a-thon will take place in 24 countries from Albania to Zimbabwe beginning in Australia with a reading from Dombey and Son.
  • The BFI Southbank hosts the London leg of the Global Dickens Read-a-thon.
  • Dickens in London, an innovative cross-platform project, transmitted on Radio 4 and online throughout the week of the bicentenary

Jarndyce Antiquarian Booksellers will be publishing The Library of a Dickensian, a collection of Dickens material that will be offered for sale in this bicentennial year. Items include first editions of Dickens's novels, letters, manuscripts and portraits of the novelist. The full catalogue can be viewed online here.

Charles Dickens - A life in letters

1812 Born to John and Elizabeth Dickens
1827 Works as the clerk to an attorney
1834 Begins using the pseudonym "Boz"
1836 The first chapters of The Pickwick Papers are published. Marries Catherine Hogarth
1837 The first of his ten children, Charles Culliford Boz Dickens, is born
1839 His daughter, Kate, is born
1842 Charles and Catherine travel to America
1846 The Dickens family travels to Switzerland
1853 Dickens gives his first public reading
1856 Dickens works with Wilkie Collins on The Frozen Deep
1857 Hans Christian Anderson is entertained at Gad's Hill Place, Dickens's country home in Kent
1858 Dickens separates from Catherine
1869 Dickens discontinues public readings. Begins writing The Mystery of Edwin Drood
1870 Dickens gives his final public reading, and dies at Gad's Hill Place on 9 June

The novels

The Pickwick Papers (1836)

Oliver Twist (1837)

Nicholas Nickleby (1838)

The Old Curiosity Shop (1840)

Barnaby Rudge (1841)

Martin Chuzzlewit (1843)

Dombey and Son (1846)

David Copperfield (1849)

Bleak House (1852)

Hard Times (1854)

Little Dorrit (1855)

A Tale of Two Cities (1859)

Great Expectations (1860)

Our Mutual Friend (1864)

The Mystery of Edwin Drood (1870)

BBC
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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit