Charles Dickens dreams of his characters and his place in the literary canon. Credit: Photo by Mondadori Portfolio via Getty
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Charles Dickens permeates London. No statue of him graces the city — in accordance with his wishes — but the characters he created are honoured.
Head east past the Tower and you can drink in the Artful Dodger; travel to Clerkenwell, following the course of the underground River Fleet, and you can take your refreshment in the Betsey Trotwood.
Climb up the stairs on the west side of London Bridge and you’re on Nancy’s Steps, where Nancy, knowing she invites her death in doing so, met young Oliver’s family, to allow the boy to be rescued. Look up in St George the Martyr’s Church on Borough High Street, and Little Dorrit is in the stained-glass window behind the altar.
Off Cornhill in the City, there is no visible homage to Scrooge. But when you have turned down St Michael’s Alley and entered Ball’s Court, you can’t imagine “the covetous old sinner” counting his money anywhere else. Walter Bagehot said that Dickens wrote about London “like a special correspondent for posterity”. But the city in time has also absorbed his artistry into its fabric.
One hundred and fifty years after the author’s death, there is perhaps no place in London where the ghost of the man himself can be felt as strongly as on Borough High Street. Dickens’s life was changed twice over on this street. When he was 12, his father was imprisoned in the Marshalsea prison for debt. Left alone to paint pots in the riverside Blacking Warehouse, he pestered his parents to find him lodgings on Lant Street, which leads off the other side of the throughway so, each morning, he could breakfast with them in the prison.
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Dickens’ shame of his knowledge of the Marshalsea, and the innocence he shed there, haunted him for the rest of his life. The place is rarely far from his novels. In Pickwick, it becomes the Fleet prison, in David Copperfield the King’s Bench. When it appears as itself in Little Dorrit, it becomes, at times, the whole of London. “The long bright rays” of the sun across the city are but “bars of the prison of this lower world”. Inside the Marshalsea, there is a freedom from the hurried anxiety the outer city breeds. Those Londoners inside its walls “have got to the bottom” and “can’t fall” any farther.
As he drew Little Dorrit to a close, Dickens went back to the grounds of the fallen Marshalsea, to “stand among the crowding ghosts of many miserable years”. If, by then, he was the most famous commoner in the country, that fame was born in a scene he set on Borough High Street, a little farther north in the White Hart Inn.
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SubscribeHow refreshing to be returned to literature in these times.
Thank you for providing some relief.
Here’s an extra little snippet that could be added to the locations where the London of Dicken’s time still exists.
Somewhere in the novels the writer refers to the presence of a weekend trader whose various lines of agricultural produce are so heavily piled up against the doors of the Hibernia Chambers that it would seem impossible for them all to be removed in time for access to be available for business on Monday morning.
I don’t quote exactly and can’t give the reference but that is the gist.
Hibernia Chambers is still there, facing Tooley Street, though now renamed No 2 London Bridge, and the doors, opening on to London Bridge, are also still there.
The architecture and ambience of the Marshalsea is captured perfectly in Little Dorrit (1987) with Alec Guinness and Derek Jacobi.
Mayor Khan will see to it that these hateful areas of Englishness are eradicated.
As will the councillors of Kent, it now seems.
I hate the notion of banning or burning books. The only exception is Dickens. Such sentimental, sanctimonious twaddle. Being forced to read one of his turgid, tawdry novels in school almost put me off literature for life.
Same here, Dickens at school was a totally turn off for me, but I gave him another chance in middle age by listening to his novels on the Audible app… Then I understood why he has endured as a writer. But better to listen to than to read, I think.
Books from a different time. I find that getting kids to not only read fiction from even 50 years ago but also fully comprehend what they’re reading is akin to trying to get a kid to watch a TV series or movie from another era.
Everything from the langauage to the pacing is completely different. One would say that if you got your great-grandchildren to not only read the Harry Potter books of today but also the films they would find Rowling as difficult to read as we find Dickens or Stevenson today.