When Arthur Clennam returns to England after many years abroad, he takes a kindly interest in Amy Dorrit, his mother's seamstress, and in the affairs of Amy's father, William Dorrit, a man of shabby grandeur, long imprisoned for debt in Marshalsea prison. As Arthur soon discovers, the dark shadow of the prison stretches far beyond its walls to affect the lives of many, from the kindly Mr Panks, the reluctant rent-collector of Bleeding Heart Yard, and the tipsily garrulous Flora Finching, to Merdle, an unscrupulous financier, and the bureaucratic Barnacles in the Circumlocution Office. A masterly evocation of the state and psychology of imprisonment, Little Dorrit is one of the supreme works of Dickens's maturity.

As for many of Dickens' novels, highlighting social injustices is at the heart of Little Dorrit. His father was imprisoned for debt, and Dickens' shines a spotlight on the fate of many who are unable to repay a debt when the ability to seek work is denied. Amy Dorrit is the youngest daughter of a man imprisoned for debt and is working as a seamstress for Mrs Clennam when Arthur Clennam crosses her path. Will the sweet natured Amy win Arthur's heart? And will they ever escape the shadow of debtors' prison?

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

The motivations behind Dickens' novels and the poverty-stricken world of 19th century London.

"The Signal-Man" is a horror/mystery story by Charles Dickens, first published as part of the Mugby Junction collection in the 1866 Christmas edition of All the Year Round.The railway signal-man of the title tells the narrator of an apparition that has been haunting him. Each spectral appearance precedes a tragic event on the railway on which the signalman works. The signalman's work is at a signal-box in a deep cutting near a tunnel entrance on a lonely stretch of the railway line, and he controls the movements of passing trains. When there is danger, his fellow signalmen alert him by telegraph and alarms. Three times, he receives phantom warnings of danger when his bell rings in a fashion that only he can hear. Each warning is followed by the appearance of the specter, and then by a terrible accident.The first accident involves a terrible collision between two trains in the tunnel. Dickens may have based this incident on the Clayton Tunnel crash[1] that occurred in 1861, five years before he wrote the story. Readers in 1866 would have been familiar with this major disaster. The second warning involves the mysterious death of a young woman on a passing train. The final warning is a premonition of the signalman's own death"

Edited by Eileen Gillooly and Deirdre David, Contemporary Dickens is a collection of essays that presents some of the most intriguing work being undertaken in Dickens studies today. Through an emphasis on the nineteenth-century origins of our current critical preoccupations and ways of knowing, these essays reveal Dickens to be our contemporary. The contributors argue that such issues as gender and sexuality, environmentalism, and the construction of national identity were frequently explored and sometimes problematically resolved by Dickens himself. They also illuminate the importance of Dickens's place in our current reassessment of critical methodologies. Drawing freely upon a variety of reading strategies (materialist, deconstructive, new historical, psychoanalytic, and feminist), the essays disclose new aspects of Dickens's engagements with a number of Victorian concerns--moral philosophy, the psychology of the emotions, and life writing among them--that have once again emerged as significant objects of study in early-twenty-first century criticism. Looking at such familiar topics from fresh perspectives, Contemporary Dickens is an original and challenging contribution to Dickens studies in particular and Victorian criticism in general. Contemporary Dickens will appeal to general readers and students of Victorian culture, as well as specialists in nineteenth-century literature, cultural studies, literary formalism, psychology, and gender studies.

That ‘poor law was law’ is a fact that has slipped from the consciousness of historians of welfare in England and Wales, and in North America. Welfare's Forgotten Past remedies this situation by tracing the history of the legal right of the settled poor to relief when destitute. Poor law was not simply local custom, but consisted of legal rights, duties and obligations that went beyond social altruism. This legal ‘truth’ is, however, still ignored or rejected by some historians, and thus ‘lost’ to social welfare policy-makers. This forgetting or minimising of a legal, enforceable right to relief has not only led to a misunderstanding of welfare’s past; it has also contributed to the stigmatisation of poverty, and the emergence and persistence of the idea that its relief is a 'gift' from the state. Documenting the history and the effects of this forgetting, whilst also providing a ‘legal’ history of welfare, Lorie Charlesworth argues that it is timely for social policy-makers and reformists – in Britain, the United States and elsewhere – to reconsider an alternative welfare model, based on the more positive, legal aspects of welfare’s 400-year legal history.