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A Tale of Two Cities, by Charles Dickens, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriate All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences-biographical, historical, and literary-to enrich each reader's understanding of these enduring works.
"It was the best of times, it was the worst of times . . ." With these famous words, Charles Dickens plunges the reader into one of history's most explosive eras-the French Revolution. From the storming of the Bastille to the relentless drop of the guillotine, Dickens vividly captures the terror and upheaval of that tumultuous period. At the center is the novel's hero, Sydney Carton, a lazy, alcoholic attorney who, inspired by a woman, makes the supreme sacrifice on the bloodstained streets of Paris. One of Dickens's most exciting novels, A Tale of Two Cities is a stirring classic of love, revenge, and resurrection. Gillen D'Arcy Wood received his Ph.D in English from Columbia University in 2000 and is currently an assistant professor at the University of Illinois, Urbana-Champaign. He is the author of The Shock of the Real: Romanticism and Visual Culture, 1760-1860. Â
About The Author Gillen D'Arcy Wood received his Ph.D in English from Columbia University in 2000 and is currently an assistant professor at the University of Illinois, Urbana-Champaign. He is the author of The Shock of the Real: Romanticism and Visual Culture, 1760-1860.
Biography Born on February 7, 1812, Charles Dickens was the second of eight children in a family burdened with financial troubles. Despite difficult early years, he became the most successful British writer of the Victorian age.
In 1824, young Charles was withdrawn from school and forced to work at a boot-blacking factory when his improvident father, accompanied by his mother and siblings, was sentenced to three months in a debtor's prison. Once they were released, Charles attended a private school for three years. The young man then became a solicitor's clerk, mastered shorthand, and before long was employed as a Parliamentary reporter. When he was in his early twenties, Dickens began to publish stories and sketches of London life in a variety of periodicals. It was the publication of Pickwick Papers (1836-1837) that catapulted the twenty-five-year-old author to national renown. Dickens wrote with unequaled speed and often worked on several novels at a time, publishing them first in monthly installments and then as books. His early novels Oliver Twist (1837-1838), Nicholas Nickleby (1838-1839), The Old Curiosity Shop (1840-1841), and A Christmas Carol (1843) solidified his enormous, ongoing popularity. As Dickens matured, his social criticism became increasingly biting, his humor dark, and his view of poverty darker still. David Copperfield (1849-1850), Bleak House (1852-1853), Hard Times (1854), A Tale of Two Cities (1859), Great Expectations (1860-1861), and Our Mutual Friend (1864-1865) are the great works of his masterful and prolific period. In 1858 Dickens's twenty-three-year marriage to Catherine Hogarth dissolved when he fell in love with Ellen Ternan, a young actress. The last years of his life were filled with intense activity: writing, managing amateur theatricals, and undertaking several reading tours that reinforced the public's favorable view of his work but took an enormous toll on his health. Working feverishly to the last, Dickens collapsed and died on June 8, 1870, leaving The Mystery of Edwin Drood uncompleted. Author biography from the Barnes & Noble Classics edition of David Copperfield.
Reviews The novel depicts the plight of the French peasantry demoralized by the French aristocracy in the years leading up to the revolution, the corresponding brutality demonstrated by the revolutionaries toward the former aristocrats in the early years of the revolution, and many unflattering social parallels with life in London during the same time period. It follows the lives of several protagonists through these events. The most notable are Charles Darnay and
Sydney Carton. Darnay is a French once-aristocrat who falls victim to the indiscriminate wrath of the revolution despite his virtuous nature, and Carton is a dissipated British barrister who endeavours to redeem his ill-spent life out of his unrequited love for Darnay's wife, Lucie Manette.
This book is amazing in so many ways: literary, the story, and the ending. I was so afraid the ending would be unsatisfying, but that is the last word I would use to describe the wonderfulness of ut. I wanted to cry!
The hunger games book is absolutely amazing . The movie is a good as well but not as gold as the book. I believe you would enjoy the movie as well. I however cannot wait for catchig fire to come out. Thats is my favorite book out of the trilogy. If you have only read hunger games, i suggest you read catching fire and mockingjay as well.
A Tale of Two Cities is a true literary classic. It superbly combines the key topics of history, politics, tragedy, love, and war all into one fantastic work. The entirety of the book is split between the two cities of London, England and Paris, France. It chronicles the course of events that took place in these two cities in the time just before and during the French Revolution. This piece of writing excellence has truly made me thankful for the time and place in which I live. The squalor and repression the majority of the populations of both England and France survived in during this period to be absolutely repulsive! I find it remarkable that Dickens was able to capture and project the true feelings of want and need expressed throughout the book onto the reader. At times I felt as if I myself was sitting in a back room of the Paris, France branch of Tellson's bank with Mr. Lorry while the citizens of Paris are actively mobbing outside. Only a select few books have ever made me feel quite this connected to their plot, something this book does superbly. Now, while I have been raving about A Tale of Two Cities, I must say that the first 200 pages were quite dull and arduous. I almost put the book down several times because of it. But, once you clear the dull beginning, this classic really heats up and becomes a very exciting, fast-paced read. One reservation I had with the book was its' enormous glorification of the horrible killing machine the Guillotine. This machine was referred to as a tall, beautiful and deadly woman and the blood of the thousands executed upon it was referred to as her wine. I found the amount of detail Dickens used to describe the repression of the common people by the nobles to be fascinating, especially given the time period in which this book was first published. One of my favorite aspects of A Tale of Two Cities was how it so fluidly it intertwined the two halves of the story. Though the French side of the story was so very far removed from the English side of the story (that is until "Book The Third" begins) it still feels to the reader like one fluid, complete story. Even while managing to floridly intertwine to separate stories, Mr. Dickens managed to hide the true personalities of two of the main characters until the perfect moment to reveal them. This, along with the truly fantastic traits of the other characters allows this book to all but jump of the pages and into reality! The Characters of Charles Dickens seemed to me as real and human as if they were standing right in front of me! My one complaint about this magnificent work is that the beginning seemingly drags on forever. I am a reader who likes books that get right into the plot and don't drag on too much. Because of this A Tale of Two Cities discouraged me early on, but I urge you not to get discouraged and give up on the book! If you persevere, the ending will reward you beyond measure!
Read An Excerpt From Gillen D'Arcy Wood's Introduction to A Tale of Two Cities
When Dickens expressed to A. H. Layard his fear of revolution in Britain in 1855, he only echoed many dozens of commentators over the preceding six decades, who wondered why mob violence could not simply cross the English Channel and turn the streets of London into a bloodbath of class retribution. The textbook historian's answer points to the bloodless coup of 1688, the so-called Glorious Revolution, which saw the tyrant James II forced into exile, and William and Mary inaugurate a form of managerial rule in Britain, a constitutional, "mixed" monarchy where many absolute powers of the Crown were ceded to Parliament. With the consolidation of that legislative body, however unrepresentative, Britain's nobility insured itself against the apocalyptic disaster that was to befall their French counterparts. The divergent tale of the two cities thus begins in 1688. But as a novelist, Dickens, who loved Paris and traveled there often, offers more intuitive, closely observed reasons for the untranslatable quality of that city's Revolution. In an 1856 article for his weekly magazine, Household Words, he calls Paris "the Moon," and describes a culture of spectacle implicitly alien to his London readers. On the grand Parisian boulevards, Dickens watches the upper classes put on "a mighty show." Later, he takes coffee and a cigar at one of Paris's ubiquitous cafÃ©s, and participates in a kind of collective voyeurism unfamiliar to the English capital: The place from which the shop front has been taken makes a gay proscenium; as I sit and smoke, the street becomes a stage, with an endless procession of lively actors crossing and re-crossing. Women with children, carts and coaches, men on horseback, soldiers, water-carriers with their pails, family groups, more soldiers, lounging exquisites, more family groups (coming past, flushed, a little late for the play). . . . We are all amused, sitting seeing the traffic in the street, and the traffic in the street is in its turn amused by seeing us ("Railway Dreaming," pp. 373-374). Paris is a society of spectacle, a glamorous outdoor "stage" where citizens are both actors and audience. Later in the article, however, Dickens describes a more sinister aspect of this culture of display when he is jostled by the crowds at the Paris morgue, whose "bodies lie on inclined planes within a great glass window, as though Holbein should represent Death, in his grim Dance, keeping a shop, and displaying his goods like a Regent Street or boulevard linen-draper" (p. 375). Dickens is unnerved here, as he was at Horsemonger Lane, by a society that places no restraints on visibility, even to preserve the solemnity of the dead. It is a short step in Dickens's imagination from the peep-show atmosphere of the Paris morgue in 1856 to the ritual slaughter in the Place de la RÃ©volution during Robespierre's "Reign of Terror" of 1793-1794. A Tale of Two Cities shows the dark side of urban theatricality, that a public appetite for glamorous "show" can rapidly degenerate into an insatiable hunger for "scenes of horror and demoralization." The essentially theatrical quality of Parisian social life produces a theatrical Revolution. At the revolutionary "trials" at the Hall of Examination, Madame Defarge, we are told, "clapped her hands as at a play." There is something uniquely Parisian, too, in the spectacle of the liberation of the Bastille (with only seven prisoners inside) and in the rituals of the Terror itself, as the tumbrils roll daily to the guillotine watched by knitting ladies, who take up seats in their favored spots each morning as if at a sideshow or circus. As Dickens describes it, even the victims of the Terror cannot escape the theatrical atmosphere of the proceedings. Among the condemned, "there are some so heedful of their looks that they cast upon the multitude such glances as they have seen in theatres, and in pictures." Contrast this with Charles Darnay, who, on trial for his life earlier in the novel, disdains "the play at the Old Bailey": He "neither flinched from the situation, nor assumed any theatrical air in it." Our hero disappoints us on occasion, but here, by resisting being converted into a spectacle, he defends the most important social principle of the novel: the dignity of the private citizen in the face of the howling mob.
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