Oliver Twist does not find wealth and family and live happily ever after. Amy Dorrit and Arthur Clennam never escape the workhouse. And Eugene Wrayburn does not revive to marry Lizzie Hexam and start a new and productive life. This article takes as its starting point the idea that a story can have ‘false’ endings and uses it as a way of approaching the problem of Charles Dickens’s plots, tracing Dickens’s method in three novels from different periods of his authorship: Oliver Twist (1839), Little Dorrit (1857), and Our Mutual Friend (1865). Dickens’s novels are full of plots that should never have played out and are enabled by a series of miracles. Instead of seeing the happy endings as undermining the impact of the novels’ social criticism, the article argues that Dickens encourages his readers to see through the ...
Here, though the world explode, these two survive,published the reprint as just one folded sheet of paper (quality paper, though) because he had come across it in Lincoln Springfield's "Some Picquant People" (1924), could not find it anywhere else1, and did not think the world should be deprived of it.
And it is always eighteen ninety-five.
To An Undiscerning Critic
Sure there are times when one cries with acidity,
'Where are the limits of human stupidity?'
Here is a critic who says as a platitude
That I am guilty because 'in ingratitude
Sherlock, the sleuth-hound, with motives ulterior,
Sneers at Poe's Dupin as very "inferior."'
Have you not learned, my esteemed commentator,
That the created is not the creator?
As the creator I've praised to satiety
Poe's Monsieur ...
as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918 all but one of my close friends were dead.1it becomes all the harder to discount the Great War as ...
And on the advice of Marsilius, who had taken a liking to me, they decided to place me under the direction of a learned Franciscan, Brother William of Baskerville, about to undertake a mission that would lead him to famous cities and ancient abbeys.This is where Umberto Eco caught me. I was 11 or 12 and had struggled through the introduction and the beginning of Adso's story, but Baskerville was a name which resonated.
Holmes: "The stage is set. The curtain rises. We are ready to begin. Sometimes, to solve a new case, one must first solve another."which neatly summarises the basic structure of the episode: Everything but the scenes on the plane take place in Sherlock's drug-fuelled imagination, which draws on elements from the universe constructed by Gatiss & Moffat in order to construct an imaginary Victorian setting in which he can try to work out how Moriarty might ...
Watson: "We have a case then? A new one?"
Holmes: "An old case. Very old. I shall have to go deep."
Watson: "Into what?"