Novelists From England

"But we should get the whole Victorian perspective wrong, in my opinion at least, if we did not see that Dickens was primarily the most successful of all the onslaughts on the solid scientific school; because he did not attack from the standpoint of extraordinary faith, like Newman; or the standpoint of extraordinary inspiration, like Carlyle; or the standpoint of extraordinary detachment or serenity, like Arnold; but from the standpoint of quite ordinary and quite hearty dislike."

"No gypsy on earth is a greater vagabond than myself."

"And on that grave where English oak and holly And laurel wreaths entwine, Deem it not all a too presumptuous folly, This spray of Western pine!"

"One of Dickens’s most striking peculiarities is that, whenever in his writing he becomes emotional, he ceases instantly to use his intelligence. The overflowing of his heart drowns his head and even dims his eyes; for, whenever he is in the melting mood, Dickens ceases to be able and probably ceases even to wish to see reality. His one and only desire on these occasions is just to overflow, nothing else. Which he does, with a vengeance and in an atrocious blank verse that is meant to be poetical prose and succeeds only in being the worst kind of fustian... Mentally drowned and blinded by the sticky overflowings of his heart, Dickens was incapable, when moved, of recreating, in terms of art, the reality which had moved him, was even, it would seem, unable to perceive that reality."

"Dickens was a pure modernist — a leader of the steam-whistle party par excellence — and he had no understanding of any power of antiquity except a sort of jackdaw sentiment for cathedral towers. He knew nothing of the nobler power of superstition — was essentially a stage manager, and used everything for effect on the pit. His Christmas meant mistletoe and pudding — neither resurrection from dead, nor rising of new stars, nor teaching of wise men, nor shepherds. His hero is essentially the ironmaster."

"When people say Dickens exaggerates, it seems to me they can have no eyes and no ears. They probably have only notions of what things and people are: they accept them conventionally at their diplomatic value. Their minds run on in the region of discourse, where there are masks only, and no faces; ideas and no facts; they have little sense for those living grimaces that play from moment to moment on the countenance of the world."

"One of the greatest books ever written in the English language was called Little Dorrit, and as soon as Englishmen realised that Little Dorrit was true there would be a revolution."

"Little Dorrit is a more seditious book than Das Kapital. All over Europe men and women are in prison for pamphlets and speeches which are to Little Dorrit as red pepper to dynamite. Fortunately for social evolution Governments never know where to strike. Barnacle and Stiltstalking were far too conceited to recognize their own portraits."

"The soul of Hogarth has migrated into the body of Dickens."

"Of all the Victorian novelists, he was probably the most antagonistic to the Victorian age itself."

"Dickens was by far the best after-dinner speaker I have ever heard. , , , Mr. Parkinson, , and are good, but Dickens was above them all. For years I scarcely missed an opportunity of hearing him speak in public."

"In fact, the real problem with the thesis of A Genealogy of Morals is that the noble and the aristocrat are just as likely to be stupid as the plebeian. I had noted in my teens that major writers are usually those who have had to struggle against the odds -- to "pull their cart out of the mud," as I put it -- while writers who have had an easy start in life are usually second rate -- or at least, not quite first-rate. Dickens, Balzac, Dostoevsky, Shaw, H. G. Wells, are examples of the first kind; in the twentieth century, John Galsworthy, Graham Greene, Evelyn Waugh, and Samuel Beckett are examples of the second kind. They are far from being mediocre writers; yet they tend to be tinged with a certain pessimism that arises from never having achieved a certain resistance against problems."

"He had his literary weaknesses, Charles Dickens, but they were all dear, big, attractive ones, virtues grown a bit wild and rank. Somehow when you put him -- with his elemental humor, his inexhaustible vitality, his humanity, sympathy, and pity -- beside the Impeccables, he always looms large."

"His eye brings in almost too rich a harvest for him to deal with, and gives him an aloofness and a hardness which freeze his sentimentalism and make it seem a concession to the public, a veil thrown over the penetrating glance which left to itself pierced to the bone. With such a power at his command Dickens made his books blaze up, not by tightening the plot or sharpening the wit, but by throwing another handful of people on the fire."

"When I was a child I devoured Dickens. I think there is hardly any volume of Dickens' work that I have not read. There was something that fascinated me about the kind of life he depicted and I remember that in school I read literally all Dickens' novels. I think there was a kind of exotic nature - the transitional life of Victorian England that he captured was to me so exotic."

"He had a large loving mind and the strongest sympathy with the poorer classes. He felt sure a better feeling, and much greater union of classes, would take place in time. And I pray earnestly it may."

"A mere sympathy for democratic merry-making and mourning will not make a man a writer like Dickens. But without that sympathy Dickens would not be a writer like Dickens; and probably not a writer at all."

"This is the artistic greatness of Dickens, before and after which there is really nothing to be said. He had the power of creating people, both possible and impossible, who were simply precious and priceless people; and anything subtler added to that truth really only weakens it."

"The twin root facts of the revolution called Dickens are these: first, that he attacked the cold Victorian compromise; second, that he attacked it without knowing he was doing it—certainly without knowing that other people were doing it. He was attacking something which we will call Mr. Gradgrind. He was utterly unaware (in any essential sense) that any one else had attacked Mr. Gradgrind. All the other attacks had come from positions of learning or cultured eccentricity of which he was entirely ignorant, and to which, therefore (like a spirited fellow), he felt a furious hostility."

"Dickens was personal in a more godlike sense; he could multiply persons. He could create all the farce and tragedy of his age over again, with creatures unborn to sin and creatures unborn to suffer. That which had not been achieved by the fierce facts of Cobbett, the burning dreams of Carlyle, the white-hot proofs of Newman, was really or very nearly achieved by a crowd of impossible people. In the centre stood that citadel of atheist industrialism: and if indeed it has ever been taken, it was taken by the rush of that unreal army."

"But already the Utilitarian citadel had been more heavily bombarded on the other side by one lonely and unlettered man of genius. The rise of Dickens is like the rising of a vast mob. This is not only because his tales are indeed as crowded and populous as towns: for truly it was not so much that Dickens appeared as that a hundred Dickens characters appeared."

"It does not matter that Dicken's world is not lifelike; it is alive."

"He had no learning; he was not misled by the label on the bottle—for that is what learning largely meant in his time. He opened his mouth and shut his eyes and saw what the Age of Reason would give him. And, having tasted it, he spat it out."

"That is the truth in the suggestion that Dickens was sentimental. It means that he probably felt most sociable when he was solitary."

"Dickens is greatest when most personal and lyrical, and... he is most lyrical when he puts himself in a child's place, and sees with a child's eyes. In the centre of his best stories sits a little human figure, dreaming, watching life as it might watch the faces in the fire."

"I was always interested in fair play, probably from reading the works of Paul Dunbar, Langston Hughes, and Charles Dickens as a child. I was always concerned about justice and injustice. To the extent that I could understand the issues, I was always on the side of the underdog. I'm on the same side today."

"There is no contemporary English writer whose works are read so generally through the whole house, who can give pleasure to the servants as well as to the mistress, to the children as well as to the master."

"I write about the black experience, because it's what I know. But I'm always talking about the human condition, what human beings feel and how we feel. Given these circumstances, a human being will react this way: he'll be happy, will weep, will celebrate, will fall. So my books are popular in Asia, in Africa, in Europe. Why would I, a black girl in the South, fall in love with Tolstoy or Dickens? I was Danton and Madame Defarge and all those people in A Tale of Two Cities. I was Daphne du Maurier and the Bronte sisters in a town where blacks were not allowed to cross the street. I was educated by those writers. Not about themselves and their people, but about me, what I could hope for."

"He describes London like a special correspondent for posterity."

"Colson Whitehead, Charles Dickens and Octavia Butler — fascinating writers who carved out their own dominions in literature and who, in wholly unique fashion, changed writing for the rest of us."

"He had a fear of the dead, and of all inanimate things, rising up around him to claim him; it is the fear of the pre-eminently solitary child and solitary man."

"When one begins looking for influences one finds them by the score. I haven't thought much about my own, not enough anyway; I hazard that the King James Bible, the rhetoric of the store-front church, something ironic and violent and perpetually understated in Negro speech — and something of Dickens' love for bravura — have something to do with me today; but I wouldn't stake my life on it. Likewise, innumerable people have helped me in many ways; but finally, I suppose, the most difficult (and most rewarding) thing in my life has been the fact that I was born a Negro and was forced, therefore, to effect some kind of truce with this reality. (Truce, by the way, is the best one can hope for.)"

"My own experience in reading Dickens...is to be bounced between violent admiration and violent distaste almost every couple of paragraphs, and this is too uncomfortable a condition to be much alleviated by an inward recital of one's duty not to be fastidious, to gulp the stuff down in gobbets like a man."

"That's the state to live and die in!...R-r-rich!"

"We must scrunch or be scrunched."

"And if it's proud to have a heart that never hardens, and a temper that never tires, and a touch that never hurts," Miss Jenny struck in, flushed, "she is proud."

"'No one is useless in this world,' retorted the Secretary, 'who lightens the burden of it for any one else.'"

"I want to be something so much worthier than the doll in the doll's house."

"Well, every one for himself, and Providence for us all--as the elephant said when he danced among the chickens."

"You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else can tell, what it is like to be alive."

"I don't care whether I am a Minx or a Sphinx."

"You are part of my existence, part of myself. You have been in every line I have ever read since I first came here, the rough common boy whose poor heart you wounded even then. You have been in every prospect I have ever seen since, — on the river, on the sails of the ships, on the marshes, in the clouds, in the light, in the darkness, in the wind, in the woods, in the sea, in the streets. You have been the embodiment of every graceful fancy that my mind has ever become acquainted with. The stones of which the strongest London buildings are made are not more real, or more impossible to be displaced by your hands, than your presence and influence have been to me, there and everywhere, and will be. Estella, to the last hour of my life, you cannot choose but remain part of my character, part of the little good in me, part of the evil. But, in this separation, I associate you only with the good; and I will faithfully hold you to that always, for you must have done me far more good than harm, let me feel now what sharp distress I may. O God bless you, God forgive you!"

"Suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but — I hope — into a better shape."

"Take nothing on its looks; take everything on evidence. There's no better rule."

"Money and goods are certainly the best of references."

"Once a gentleman, and always a gentleman."

"Ask no questions, and you'll be told no lies."

"Professionally he declines and falls, and as a friend he drops into poetry."

"Pip, dear old chap, life is made of ever so many partings welded together..."

"A person who can't pay, gets another person who can't pay, to guarantee that he can pay. Like a person with two wooden legs getting another person with two wooden legs, to guarantee that he has got two natural legs. It don't make either of them able to do a walking match."