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Award-winning screenwriter GARY WHITTA (Rogue One: A Star Wars Story, The Book Of Eli) teams with celebrated artist DARICK ROBERTSON (Transmetropolitan, HAPPY!, The Boys) for a new take on a literary classicÑwith a futuristic twist. OLIVER re-imagines Charles DickensÕ most famous orphan as a post-apocalyptic superhero fighting to liberate a war-ravaged England while searching for the truth about his own mysterious origins. ÒGARY WHITTA slips effortlessly from movies into comics with a terrific story and career-best art from DARICK ROBERTSON.Ó ÑMARK MILLAR
The Dickens classic reimagined as a female-centric, dark futuristic fable. To save a boy she barely knows, teenage orphan Olivia Twist joins THE ESTHERS, a rag-tag girl gang of thieves running free in a dangerous future. Olivia's life in this London of internment camps and strange technology gets even more complicated when she discovers that she has more power and wealth than she's ever dreamed of. But it comes with a great cost. This volume collects issues #1-#4 of Darin Strauss, Adam Dalva, and Emma Vieceli's Olivia.
The cold, misty Kent marshes -- Pip, an orphan, is terrified when an escaped convict appears out of the gloom and threatens him. Then the strange and sinister Miss Haversham sends for him. What will Pip do when he discovers he has come into riches -- and will he ever find out who his benefactor is? -- Cover.
A beautifully illustrated anthology of some of Charles Dickens' greatest works retold and adapted by the incredibly talented Angela McAllister.
Winner of the Plutarch Award for Best Biography A lively and insightful biographical celebration of the imaginative genius of Charles Dickens, published in commemoration of the 150th anniversary of his death. Charles Dickens was a superb public performer, a great orator and one of the most famous of the Eminent Victorians. Slight of build, with a frenzied, hyper-energetic personality, Dickens looked much older than his fifty-eight years when he died—an occasion marked by a crowded funeral at Westminster Abbey, despite his waking wishes for a small affair. Experiencing the worst and best of life during the Victorian Age, Dickens was not merely the conduit through whom some of the most beloved characters in literature came into the world. He was one of them. Filled with the twists, pathos, and unusual characters that sprang from this novelist’s extraordinary imagination, The Mystery of Charles Dickens looks back from the legendary writer’s death to recall the key events in his life. In doing so, he seeks to understand Dickens’ creative genius and enduring popularity. Following his life from cradle to grave, it becomes clear that Dickens’s fiction drew from his life—a fact he acknowledged. Like Oliver Twist, Dickens suffered a wretched childhood, then grew up to become not only a respectable gentleman but an artist of prodigious popularity. Dickens knew firsthand the poverty and pain his characters endured, including the scandal of a failed marriage. Going beyond standard narrative biography, A. N. Wilson brilliantly revisits the wellspring of Dickens’s vast and wild imagination, to reveal at long last why his novels captured the hearts of nineteenth century readers—and why they continue to resonate today. The Mystery of Charles Dickens is illustrated with 30 black-and-white images.
Five lively retellings of classic Dickens - Great Expectations, A Christmas Carol, David Copperfield and A Tale of Two Cities. All created in Marcia Williams' distinctive comic-strip style.
Bhabha, in his preface, writes 'Nations, like narratives, lose their origins in the myths of time and only fully encounter their horizons in the mind's eye'. From this seemingly impossibly metaphorical beginning, this volume confronts the realities of the concept of nationhood as it is lived and the profound ambivalence of language as it is written. From Gillian Beer's reading of Virginia Woolf, Rachel Bowlby's cultural history of Uncle Tom's Cabin and Francis Mulhern's study of Leaviste's 'English ethics'; to Doris Sommer's study of the 'magical realism' of Latin American fiction and Sneja Gunew's analysis of Australian writing, Nation and Narration is a celebration of the fact that English is no longer an English national consciousness, which is not nationalist, but is the only thing that will give us an international dimension.
In this remarkable study, Gail Turley Houston examines the rich interplay of consumption as alimental process, medical entity, psychological construct, and economic practice in order to explore Charles Dickens’s fictional representations of Victorian culture as he presents it in his novels. Drawing from medical, historical, economic, psychoanalytic, and biographical materials from the Victorian period, Houston anchors her work in the belief that if class and gender are fictional constructions, real people’s lives are affected in complex and coercive ways by such constructions. Proceeding chronologically, Houston traces particular patterns throughout ten of Dickens’s major novels: The Pickwick Papers, Oliver Twist, The Old Curiosity Shop, Martin Chuzzlewit, Dombey and Son, David Copperfield, Bleak House, Little Dorrit, Great Expectations, and Our Mutual Friend. Houston maintains that Victorian codes of behavior prescribed for gender and class regarding sexual and alimental appetites were so extreme and complicated that numerous consequent eating disorders and related diseases developed. Ideologies about consumption translated into medically defined consumptions, such as anorexia. Using anorexia and its etiology as representative of an underlying cultural dynamics of consumption, Houston examines anorexia as a deep structure of the Victorian period. Further, consumption as economic process is reflected in the expansion of individual material desires at the expense of the designated body politic. In other words, extravagant consumption occurs in society only if certain groups—usually consisting of lower-class men and women and, in Dickens’s novels, women in general—are severely limited in their consumption. To support her approach, Houston turns to Rita Felski’s Beyond Feminist Aesthetics, agreeing with Felski’s argument that it is necessary to recognize the complex dialectics that take place between the individual and society. Not only does culture construct human beings, but human beings also construct culture. Felski’s theory aids Houston in emphasizing that Dickens not only influenced but was also greatly influenced by the Victorian dynamics of consumption. In fact, Houston argues that while Dickens dismantles Victorian ideologies about class and hunger by demonstrating the unnaturalness of expecting one class to starve so that another might gluttonize, he nevertheless accepts and perpetuates the Victorian identification of woman as the self-sacrificing, always-nurturing "angel in the house" without need of nurture herself. This extraordinary book will appeal to literary scholars, as well as to scholars in the social sciences, history, humanistically oriented medicine, and women’s studies.