Our Mutual Friend : With original illustrations
Dickens's last completed novel is a marvel of play-acting and posturing, of taking on roles through delusion, calculation and ambition. I've come to think of it as a sort of late-period masque, where the roles and disguises that John Harmon and Boffin consciously assume exaggerate the more ordinary play-acting and pretence that we all engage in. The Veneerings' awful dinner parties, or the love affairs where both participants wonder whether they are quite up to the mark, or the Lammles' getting married in the misguided belief that the other has money – these are all wonderful, extreme examples of what the sociologist Erving Goffman was later to call "the presentation of self in everyday life".uess it's the Dickens novel I love best, and come back to most frequently. It's said to be highly artificial – Henry James remarked, on its first publication, that he had never read a novel "so intensely written, so little seen, known, or felt". The details of the plot, it's true, are elaborately implausible. But the individual characters are shockingly recognisable – the scenes between Mrs Wilfer striking postures and her debunking daughters, for instance. There are a hundred Podsnaps who will explain climate change over London dinner tables tonight, with a sweeping gesture of the arm. Dickens's genius for human observation at its quickest reaches a kind of pinnacle with the young man who tries to exercise his French and says "Esker" at a Veneering dinner, says nothing more and never reappears. But he will live forever, and we all know someone just like him.
It's so full of the river, and the sense of the city, and a huge stretch of London society, and so grand in its vision that perhaps we forget how gloriously funny it is – the Boffins deciding to go in for history, and buying a big book ("His name is Decline-And-Fall-Off-The-Rooshan-Empire") or the captivating Lady Tippins ("You wretch!"), or Mrs Wilfer, after placing Bella in the magnificent coach of the Boffins, continuing to "air herself ... in a kind of splendidly serene trance on the top step" for the benefit of the neighbours.
I love the bold sentiment, the pathos and the drama; I even love the kid who dies whispering "A kiss for the boofer lady", because you might as well swallow this magnificent novel whole. And best of all is the exuberant, light-hearted moral conviction of the last page, as Twemlow at the very end shows his steel. Wagner said that the whole spirit of the English people was contained in the first rocketing eight notes of "Rule Britannia". But then he probably hadn't read Our Mutual Friend.
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It's so full of the river, and the sense of the city, and a huge stretch of London society, and so grand in its vision that perhaps we forget how gloriously funny it is – the Boffins deciding to go in for history, and buying a big book ("His name is Decline-And-Fall-Off-The-Rooshan-Empire") or the captivating Lady Tippins ("You wretch!"), or Mrs Wilfer, after placing Bella in the magnificent coach of the Boffins, continuing to "air herself ... in a kind of splendidly serene trance on the top step" for the benefit of the neighbours.
I love the bold sentiment, the pathos and the drama; I even love the kid who dies whispering "A kiss for the boofer lady", because you might as well swallow this magnificent novel whole. And best of all is the exuberant, light-hearted moral conviction of the last page, as Twemlow at the very end shows his steel. Wagner said that the whole spirit of the English people was contained in the first rocketing eight notes of "Rule Britannia". But then he probably hadn't read Our Mutual Friend.
Our Mutual Friend : With original illustrations
Dickens's last completed novel is a marvel of play-acting and posturing, of taking on roles through delusion, calculation and ambition. I've come to think of it as a sort of late-period masque, where the roles and disguises that John Harmon and Boffin consciously assume exaggerate the more ordinary play-acting and pretence that we all engage in. The Veneerings' awful dinner parties, or the love affairs where both participants wonder whether they are quite up to the mark, or the Lammles' getting married in the misguided belief that the other has money – these are all wonderful, extreme examples of what the sociologist Erving Goffman was later to call "the presentation of self in everyday life".uess it's the Dickens novel I love best, and come back to most frequently. It's said to be highly artificial – Henry James remarked, on its first publication, that he had never read a novel "so intensely written, so little seen, known, or felt". The details of the plot, it's true, are elaborately implausible. But the individual characters are shockingly recognisable – the scenes between Mrs Wilfer striking postures and her debunking daughters, for instance. There are a hundred Podsnaps who will explain climate change over London dinner tables tonight, with a sweeping gesture of the arm. Dickens's genius for human observation at its quickest reaches a kind of pinnacle with the young man who tries to exercise his French and says "Esker" at a Veneering dinner, says nothing more and never reappears. But he will live forever, and we all know someone just like him.
It's so full of the river, and the sense of the city, and a huge stretch of London society, and so grand in its vision that perhaps we forget how gloriously funny it is – the Boffins deciding to go in for history, and buying a big book ("His name is Decline-And-Fall-Off-The-Rooshan-Empire") or the captivating Lady Tippins ("You wretch!"), or Mrs Wilfer, after placing Bella in the magnificent coach of the Boffins, continuing to "air herself ... in a kind of splendidly serene trance on the top step" for the benefit of the neighbours.
I love the bold sentiment, the pathos and the drama; I even love the kid who dies whispering "A kiss for the boofer lady", because you might as well swallow this magnificent novel whole. And best of all is the exuberant, light-hearted moral conviction of the last page, as Twemlow at the very end shows his steel. Wagner said that the whole spirit of the English people was contained in the first rocketing eight notes of "Rule Britannia". But then he probably hadn't read Our Mutual Friend.
It's so full of the river, and the sense of the city, and a huge stretch of London society, and so grand in its vision that perhaps we forget how gloriously funny it is – the Boffins deciding to go in for history, and buying a big book ("His name is Decline-And-Fall-Off-The-Rooshan-Empire") or the captivating Lady Tippins ("You wretch!"), or Mrs Wilfer, after placing Bella in the magnificent coach of the Boffins, continuing to "air herself ... in a kind of splendidly serene trance on the top step" for the benefit of the neighbours.
I love the bold sentiment, the pathos and the drama; I even love the kid who dies whispering "A kiss for the boofer lady", because you might as well swallow this magnificent novel whole. And best of all is the exuberant, light-hearted moral conviction of the last page, as Twemlow at the very end shows his steel. Wagner said that the whole spirit of the English people was contained in the first rocketing eight notes of "Rule Britannia". But then he probably hadn't read Our Mutual Friend.
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Our Mutual Friend : With original illustrations
Our Mutual Friend : With original illustrations
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Product Details
BN ID: | 2940161104361 |
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Publisher: | Freeday Shop |
Publication date: | 09/19/2019 |
Sold by: | Barnes & Noble |
Format: | eBook |
File size: | 5 MB |
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