An original study of Dickens' early career and the way he constructed his literary reputation.

Sketches by "Boz," Illustrative of Every-day Life and Every-day People (commonly known as Sketches by Boz) is a collection of short pieces Charles Dickens published as a book in 1836, with illustrations by George Cruikshank. The 56 sketches concern London scenes and people, and the whole work is divided into four sections: "Our Parish," "Scenes," "Characters" and "Tales." The material in the first three sections consists of non-narrative pen-portraits, but the last section comprises fictional stories. The sketches were originally published in various newspapers and other periodicals between 1833 and 1836, then issued in instalments under their current title from 1837 to 1839. The sketch "Mr Minns and his Cousin" (originally titled "A Dinner at Poplar Walk"), was the first work of fiction Dickens ever published. It appeared in The Monthly Magazine in December 1833. Although Dickens continued to place pieces in that magazine, none of them bore a signature until August 1834, when "The Boarding House" appeared under the strange pen-name "Boz." A verse in Bentley's Miscellany for March 1837 recalled the public's perplexity about this pseudonym: "Who the dickens 'Boz' could be Puzzled many a learned elf, Till time unveiled the mystery, And 'Boz' appeared as Dickens's self." Dickens took the pseudonym from a nickname he had given his younger brother Augustus, whom he called "Moses" after a character in Oliver Goldsmith's The Vicar of Wakefield. This, "being facetiously pronounced through the nose," became "Boses," which in turn was shortened to "Boz." The name remained coupled with "inimitable" until "Boz" eventually disappeared and Dickens became known as, simply, "The Inimitable."

Dickens' rise to fame and his world-wide popularity were by no means inevitable. He started out with no clear career in mind, drifting in and out of the theatre, journalism and editing before finding unexpected success as a creative writer. Taking account of everything known about Dickens' apprentice years, Robert L. Patten narrates the fierce struggle Dickens then had to create an alter ego, Boz, and later to contain and extinguish him. His revision of Dickens' biography in the context of early Victorian social and political history and print culture opens up a more unstable, yet more fascinating, portrait of Dickens. The book tells the story of how Dickens created an authorial persona that highlighted certain attributes and concealed others about his life, talent and publications. This complicated narrative of struggle, determination, dead ends and new beginnings is as gripping as one of Dickens' own novels.