Marley was dead- to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it- and Scrooge's name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.
Charles Dickens was born in Hampshire on February 7, 1812. His father was a clerk in the navy pay office, who was well paid but often ended up in financial troubles. When Dickens was twelve years old he was send to work in a shoe polish factory because his family had been taken to the debtors' prison. Fagin is named after a boy Dickens disliked at the factory. His career as a writer of fiction started in 1833 when his short stories and essays began to appear in periodicals. The Pickwick Papers, his first commercial success, was published in 1836. In the same year he married the daughter of his friend George Hogarth, Catherine Hogarth. The serialisation of Oliver Twist began in 1837 while The Pickwick Papers was still running. Many other novels followed and The Old Curiosity Shop brought Dickens international fame and he became a celebrity in America as well as Britain. He separated from his wife in 1858. Charles Dickens died on 9 June 1870, leaving his last novel, The Mystery of Edwin Drood, unfinished. He is buried in Westminster Abbey.
Gr 3-6-Who better than the illustrator of Lemony Snicket's Dickensian "A Series of Unfortunate Events" to present the master's timeless tale in a picture book? Helquist's composition draws readers' eyes to Scrooge on every page, often crafting the mood of the tale through the expressions on Ebenezer's oversize features. An abridged text renders the tale accessible to a younger audience. (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Few of the many interpretations of Dickens's holiday parable can match this handsome edition for atmosphere, mood and sheer elegance. Innocenti's full-page watercolors are striking, full-bodied evocations of 19th-century London, particularly the life and vigor of the city's streets: merchants sell their wares, urchins tumble and play, the gentry ride in their carriages, and the destitute huddle in doorways and keep warm at makeshift stoves. At the same time, the paintings' realism, dramatic intensity, occasional luminosity and almost microscopic observation of detail strongly recall the exquisite art of the Italian Renaissance. Their stateliness is carried through in the book's design: each page of text is boxed with fine sepia rules, overlaid with a delicate, gradually fading wash, and topped by a single, modest ornament. The effect suggests an old manuscript or parchment--one that, every so often, opens a splendid pictorial window on the world of this classic narrative. For all its elegance, however, this is a somber and unsentimental view of Dickens's world. The beautiful and the sordid, the good and the malevolent, are never far apart--a concept that is powerfully suggested through the frequent use of high, oddly angled perspectives, as if readers, along with Scrooge and the spirits, are privy to telling glimpses of life skimmed from above. All ages. (Oct.)
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