Placing the works of Charles Dickens and Walter Benjamin in conversation with one another, Gillian Piggott argues that the two writers display a shared vision of modernity. Her analysis of their works shows that both writers demonstrate a decreased confidence in the capacity to experience truth or religious meaning in an increasingly materialist world and that both occupy similar positions towards urban modernity and its effect upon experience. Piggott juxtaposes her exploration of Benjamin's ideas on allegory and messianism with an examination of Dickens's The Old Curiosity Shop, arguing that both writers proffer a melancholy vision of a world devoid of space and time for religious experience, a state of affairs they associate with the onset of industrial capitalism. In Benjamin's The Arcades Project and Dickens's Sketches by Boz and Tale of Two Cities, among other works, the authors converge in their hugely influential treatments of the city as a site of perambulation, creativity, memory, and autobiography. At the same time, both authors relate to the vertiginous, mutable, fast-paced nature of city life as involving a concomitant change in the structure of experience, an alteration that can be understood as a reduction in the capacity to experience fully. Piggott's persuasive analyses enable a reading of Dickens as part of a European, particularly a German, tradition of thinkers and writers of industrialization and modernity. For both Dickens and Benjamin, truth appears only in moments of revelation, in fragments of modernity.

In this acclaimed novel by the author of the award-winning, bestselling The Thing About Jellyfish, being the new kid at school isn't easy, especially when you have to follow in the footsteps of a legendary classroom prankster. When Caitlyn Breen begins her disorienting new life at Mitchell School--where the students take care of real live goats and study long-dead philosophers, and where there are only ten other students in the entire seventh grade--it seems like nobody can stop talking about some kid named Paulie Fink. Depending on whom you ask, Paulie was either a hilarious class clown, a relentless troublemaker, a hapless klutz, or an evil genius. One thing's for sure, though: The kid was totally legendary. Now he's disappeared, and Caitlyn finds herself leading a reality-show-style competition to find the school's next great Paulie Fink. With each challenge, Caitlyn struggles to understand a person she never met...but it's what she discovers about herself that most surprises her. Told in multiple voices, interviews, and documents,this funny, thought-provoking novel from the bestselling author of The Thing About Jellyfish is a memorable exploration of what makes a hero--and if anyone, or anything, is truly what it seems.

This book contains the second volume of Benjamin Disraeli’s 1847 novel, “Tancred - Or, The New Crusade”. It was the last in his trilogy of political novels, preceded by “Sybil; or, The Two Nations” (1845) and “Coningsby; or, The New Generation” (1844). The plot revolves around the role of the Church of England in rejuvenating Britain’s waning spirituality. This book is highly recommended for fans of political fiction, and is not to be missed by collectors of Disraeli’s work. Benjamin Disraeli (1804–1881) was a British politician and author, who served as Prime Minister on two separate occasions. He played a central role in the creation of the modern Conservative Party, defining its policies and its broad outreach. Many vintage texts such as this are becoming increasingly rare and expensive, and it is with this in mind that we are republishing this volume now, in an affordable, modern, high-quality edition. It comes complete with a specially commissioned new biography of the author.

This phenomenological exploration of the streets of Dickens's London opens up new perspectives on the city and the writer.

In this compelling and accessible book, Rosemarie Bodenheimer explores the thoughtworld of the Victorian novelist who was most deeply intrigued by nineteenth-century ideas about the unconscious mind. Dickens found many ways to dramatize in his characters both unconscious processes and acts of self-projection—notions that are sometimes applied to him as if he were an unwitting patient. Bodenheimer explains how the novelist used such techniques to negotiate the ground between knowing and telling, revealing and concealing. She asks how well Dickens knew himself—the extent to which he understood his own nature and the ways he projected himself in his fictions—and how well we can know him. Knowing Dickens is the first book to systematically explore Dickens's abundant correspondence in relation to his published writings. Gathering evidence from letters, journalistic essays, stories, and novels that bear on a major issue or pattern of response in Dickens's life and work, Bodenheimer cuts across familiar storylines in Dickens biography and criticism in chapters that take up topics including self-defensive language, models of memory, relations of identification and rivalry among men, houses and household management, and walking and writing.