Amy Dorrit voit le jour dans une tres grande son pere William, crible de dettes, est contraint de vivre avec le reste de sa famille en prison. Celle qu'on surnomme la petite Dorrit, du fait de son jeune age et de sa petite taille, grandit dans la misere, et, hors de prison, se livre a de modestes besognes pour subvenir a ses besoins et secourir sa famille incarceree.A vingt-deux ans, Amy trouve une place de domestique chez les Clennam, une famille dont le destin s'entrelace etrangement avec celui des Dorrit. Le fils de la famille, Arthur, s'emeut de la triste condition de cette nouvelle employee de maison... et finit par tomber sous son charme. Cherchant a la tirer de son sort, il apprendra peu a peu a la connaitre et mettra en lumiere certains secrets concernant leurs familles...Les epais murs de la prison ne sont pas toujours la ou l'on croit, et son ombre menacante semble s'etendre bien au-dela de ses enceintes..."
Charles John Huffam Dickens (1812-1870) was a writer and social critic who created some of the world's best-known fictional characters and is regarded as the greatest novelist of the Victorian era. His works enjoyed unprecedented popularity during his lifetime, and by the twentieth century critics and scholars had recognised him as a literary genius. His novels and short stories enjoy lasting popularity.
Dickens left school to work in a factory when his father was incarcerated in a debtors' prison. Despite his lack of formal education, he edited a weekly journal for 20 years, wrote 15 novels, five novellas, hundreds of short stories and non-fiction articles, lectured and performed extensively, was an indefatigable letter writer, and campaigned vigorously for children's rights, education, and other social reforms.
Dickens was regarded as the literary colossus of his age. His 1843 novella, A Christmas Carol, remains popular and continues to inspire adaptations in every artistic genre. Oliver Twist and Great Expectations are also frequently adapted, and, like many of his novels, evoke images of early Victorian London. His 1859 novel, A Tale of Two Cities, set in London and Paris, is his best-known work of historical fiction. Dickens's creative genius has been praised by fellow writers—from Leo Tolstoy to George Orwell and G. K. Chesterton—for its realism, comedy, prose style, unique characterisations, and social criticism. On the other hand, Oscar Wilde, Henry James, and Virginia Woolf complained of a lack of psychological depth, loose writing, and a vein of saccharine sentimentalism. The term Dickensian is used to describe something that is reminiscent of Dickens and his writings, such as poor social conditions or comically repulsive characters.
On 8 June 1870, Dickens suffered another stroke at his home after a full day's work on Edwin Drood. He never regained consciousness, and the next day he died at Gad's Hill Place. Contrary to his wish to be buried at Rochester Cathedral "in an inexpensive, unostentatious, and strictly private manner," he was laid to rest in the Poets' Corner of Westminster Abbey. A printed epitaph circulated at the time of the funeral reads: "To the Memory of Charles Dickens (England's most popular author) who died at his residence, Higham, near Rochester, Kent, 9 June 1870, aged 58 years. He was a sympathiser with the poor, the suffering, and the oppressed; and by his death, one of England's greatest writers is lost to the world." His last words were: "On the ground", in response to his sister-in-law Georgina's request that he lie down.
Soot. When I was reading this first volume ("Poverty"), I just thought of dark, black, soot. Permeating everything, perhaps even the writing. Yes, this may be the darkest of the Dickens works, albeit with some right fun snarkiness thrown in along the way. I kept hoping that the sun would shine in someone's life (looks like that will be the second volume).
Melancholy streets in a penitential garb of soot, steeped the souls of the people who were condemned to look at them out of windows, in dire despondency. In every thoroughfare, up almost every alley, and down almost every turning, some doleful bell was throbbing, jerking, tolling, as if the Plague were in the city and the dead-carts were going round.
In describing the streets of London circa 1826, Dickens sets the tone for the entire story. Now that's writing. One incredibly descriptive paragraph so that any character could appear and the reader already knows where they are. And where they are is in a tale about debt and entitlement and the shortcomings of government. Sound familiar? A family winds up in the Marshalsea, which was the prison for the poorest debtors in English society. Imagine not only being thrown into prison but to never really have the chance to leave, because you can't afford to do so. If that isn't throwing soot on one's life, I don't what else it could be.
'Little Dorrit' of the title is the selfless daughter of the imprisoned father, the one ray of light in the entire prison. Born in the Marshalsea, she strives to help her family, none of whom have much get-up-and-go. In usual Dickens style, we get introduced to a multitude of characters from the decent (Arthur Clennam, Pancks) to the indecent (Flintwinch, Rigaud), all of whom have a part to play along the way. The first volume ("Poverty") starts with darkness and ends with light, but will it continue? I shall see in volume two ("Riches").
I always love Dickens, even if I'm not crazy about the people of the story. That's because Dickens writes about inanimate objects as though they were alive.
What the mud had been doing with itself, or where it came from, who could say?
He writes of the perception of rain, for example, which is associated with fresh scents in the country but with foul staleness in the city. He writes of river currents and ferry boats with as much heartiness as he does of mothers and fathers. So Dickens always keeps my interest even if I don't necessarily care for some of the characters.
Time shall show us. The post of honour and the post of shame, the general's station and the drummer's, a peer's statue in Westminster Abbey and a seaman's hammock in the bosom of the deep, the mitre and the workhouse, the woolsack and the gallows, the throne and the guillotine - the travellers to all are on the great high road; but it has wonderful divergences, and only Time shall show us whither each traveller is bound.
Free at last, Free at last! Not really, but nearly two months and 32 listening hours later, I can move on! Now I'm a fan of Victorian Lit, and have enjoyed many Dickens adventures, but this one I'd rate as suitable for hard-core fans only. It's dated, with the premise of debtors' prisons and the Circumlocution Office. Yes, we have red tape today, but also Freedom of Information Acts, etc. I just couldn't relate to the circumstances here. As for the writing itself, the subplots seemed to be going nowhere except to serve as serialization fodder (word count). By the middle, I feared the ending would be hurriedly wrapped up; indeed - that turned out to be so true that I swear I missed some points by not paying the strictest of attention every single minute to the audio. Bottom line: I found it a less interesting/exciting/compelling version of Our Mutual Friend. Those who haven't read (much) Dickens, or are trying this one to "give him another chance" likely won't finish the book ... and I wouldn't blame them.
So far, one of the weirdest books. Weird even for a Dickens novel. The characterizations, of course, are masterful, but I have yet to find a beloved one. Every one as yet is either despicable, pathetic, or weak. Mr. Charles must have been in a very nasty mood churning out this one. Still, I am enthralled!..... .... ..And remained so through to the end. All that I said as I began to read this book holds true to the finish. The story itself is lame-ish. Potboiler, I guess. But the lovingly detailed characterizations of the people we encounter on the way-- Aaaaah!
I love some of the characters (Rock on Maggy! Give that girl all the chicken and cake she wants!) and I was lost in the descriptions and snorted from laughter over many of the dry comments on governmet and the Circumlecution office.
I do however loathe the way Arthur denies his own feelings and how drawn out those parts of "thankfully he had decided not to love Pet..." were. I also felt myself almost drop the book when I read of Arthur's fairy fantasies of Amy or (pending on how you read that passage) how Amy calls him "Father, Father" and then passes out in his arms at one point.
Overall though its a read worth the work it demands of its reader.
But I found it much easier to navigate the book, after having seen the 2008 BBC adaptation. For new readers, start with that. Watch the 2008 adaptation to get a sense of the characters and the setting, where the plot is actually going and whether you would even like the story. It will help immensely to keep you focused on what is actually happening rather than being caught up in the maddening swirls of thoughts, descriptions, narrator's wit and conversations of the characters.
Well, seeing as I have been reading this book from as far back as December of 2020, it means that the story and the writing have been enjoyable to me. I like the subtle humor and all that mockery of the Barnacles as a family and their specialty in ensuring nothing ever gets done, ha-ha!
I like Amy, I don't like her father I'm okay with Arthur, I also sympathise with his mother so I like her too but I don't like the people who work for her, though lately I found that the comportment of one of them during a visit to her home by a charlatan was without any evident malice of fault against her
I detest the Meagles, feel sorry for tattycorum whose name I have forgotten, am suspicious of Miss Wade
There's a lot going on in the story but as this one about the poverty of Amy's family, her being born with a debt prison, the next installment is about their affluence.
Reads like a profound game of football with the star quarterback being none other than diminutive Amy Dorrit. There is even a halftime then back to work. Again, the book has many main characters. But Amy Dorrit is the most informative incorporating the best delivery of slave/Queen auto-eroticism (overtaking Shakespeare in this) bar none. No matter what you are reading in the descriptions of the personal attributes given for her: She is the undisputed “horseflesh” character of the book. Dickens means for us to know that she is a successful channeler of her energies. Would she have been a threat to the Early Church? Martyr etiquette is on course here.
No one can surpass Dickens as a master of satire, and I will die on this hill. “Little Dorrit” is, perhaps, darker than the majority of his other masterpieces, with long and dirty shadows of Marshalsea prison cast over both plot and characters. Dickens is merciless in exposing bureaucratic absurdity, nepotism and social implications of classism which would be hilarious if they didn’t rule over people’s lives.
At the same time, he is very humane. His characters are living and breathing people whose nature we can quickly grasp from reading even a couple of paragraphs. Those people may be despicable, sure, but they are people, not plot decorations.
The first volume of “Little Dorrit” is about a trial of poverty. I have a strong suspicion that the trial of riches will prove to be more challenging for the majority of the characters – on to the second volume to find out.
Great characterizations, love the dry humor. But quite a chore to read through nevertheless. And sometimes I wish he'd give more background for fewer characters. I don't quite feel like I get to know the characters, there's too much going on.
Still, I enjoyed reading this and will be reading the second book as well. It's just a style that is not my all time favorite and has a bit too much stereotyping. Although I do think a bit of stereotyping is funny sometimes.
Dickens, like Shakespeare, has a pansophical understanding of man and his nature. The incredible beauty and eloquence with which he expresses this is still shocking to me, no matter how much of his work I read. I wish more people understood that his books not only contain fantastically woven, intriguing storylines but are written with such beautiful pros you feel like a better person for having read them.
I've tried Charles Dickens before a long time ago and I didn't finish whatever it was by him that I was reading back then but all this time later, I thought I'd try again. I don't think he is an author for me. Everything just seems like too wordy if that makes sense. I prefer a more straightforward writing approach
Trochu těžší na čtení kvůli staršími jazyku, ale pěkné. Moc mě nebavily kapitoly o okolkovacím úřadu, ale jinak pěkná knížka, člověk si občas musí uvědomit, že je v jiném století
I listened to the unabridged audio read by Simon Vance. It took me three months of walking on the treadmill to get through, but on the whole, I enjoyed it very much. Dickens used a broad canvas to tell this story of the class system in Victorian England. From the drudgery of the Marshalsea debtors prison to the high corridors of power in Westminster, he weaves a tale that touches the heart and skewers the powerful and rich.
Reread recently and enjoyed again. Pretty much typical Dickens. Interesting characters with engaging plots and sub-plots. Very good but not great literature. Tip. Get from Netfix the multipart miniseries that aired a few years ago on Masterpiece Theater. I give it 4 stars, i.e. actually better than the book.