The captivating story of an innocent boy alone in an uncaring society, David Copperfield is unquestionably the most autobiographical of all Charles Dickens's novels. Born in bleak 19th-century London, David Copperfield's life is shaped by his struggle for survival, starting with his menacing stepfather, Mr. Murdstone. His friendship with the blustering, jovial Mr. Micawber adds hilarity and warmth to his otherwise dismal days, while the sinister, sniveling clerk Uriah Heep is an endless source of both amusement and revulsion. As David grows up, he is torn between his fascination with the beautiful, spoiled Dora and his devotion to his childhood friend Agnes. An unforgettable portrayal of childhood, David Copperfield's message of hope and determination amidst life's harsh realities makes this story one of Dickens's greatest masterpieces.

"Of all my books," says Charles Dickens in his preface to this immortal novel, "I like this the best. . . . Like many fond parents, I have in my heart of hearts a favorite child. And his name is David Copperfield." When "David Copperfield' appeared in 1850, after "Dombey and Son" and before "Bleak House," it became so popular that its only rival was "Pickwick." Beneath the fiction lies much of the author's personal life, yet it is not an autobiography. The story treats of David's sad experiences as a child, his youth at school, and his struggles for a livelihood, and leaves him in early manhood, prosperous and happily married. Pathos, humor, and skill in delineation, give vitality to this remarkable work; and nowhere has Dickens filled his canvas with more vivid and diversified characters. Forster says that the author's favorites were the Peggotty family, composed of David's nurse Peggotty, who was married to Barkis, the carrier; Daniel Peggotty, her brother, a Yarmouth fisherman; Ham Peggotty, his nephew; the doleful Mrs. Gummidge; and Little Emily, ruined by David's schoolmate, Steerforth. "It has been their fate," says Forster, "as with all the leading figures of his invention, to pass their names into the language and become types; and he has nowhere given happier embodiment to that purity of homely goodness, which, by the kindly and all-reconciling influences of humor, may exalt into comeliness and even grandeur the clumsiest forms of humanity." ...

What are the sources of the commonly held presumption that reading literature should make people more just, humane, and sophisticated? Rendering literary history responsive to the cultural histories of reading, publishing, and education, The Pleasures of Memory illuminates the ways in which Dickens’s serial fiction shaped not only the popular practice of reading for pleasure and instruction but also the school subject we now know as “English.” Winter shows how Dickens’s serial fiction instigated specific reading practices by reworking the conventions of religious didactic tracts from which most Victorians learned to read. Incorporating an influential associationist psychology of learning founded on the cumulative functioning of memory, Dickens’s serial novels consistently led readers to reflect on their reading as a form of shared experience. Dickens’s celebrity authorship, Winter argues, represented both a successful marketing program for popular fiction and a cultural politics addressed to a politically unaffiliated, social-activist Victorian readership. As late-nineteenth century educational reforms consolidated British and American readers into “mass” populations served by state school systems, Dickens’s beloved novels came to embody the socially inclusive and humanizing goals of democratic education.