Returning to print after more than a decade, this first volume in the relaunch of the Classics Illustrated series presents a handsomely rendered adaptation of the orphaned Pip's first-person narrative of his journey from humble childhood to adulthood as an English gentleman. Though quite involving, this retelling of the Dickens classic registers as a "fast forward" version of the epic tale of one man's evolution and the hard lessons learned from it, but that aspect is a minor quibble shoved aside by Geary's charmingly cartoony art. Long hailed for his unique work in such diverse showcases as the New York Times, National Lampoon and his exceptional continuing series A Treasury of Victorian Murder, Geary's fleshy characterizations breathe a near-animated life into the classic tale. This pleasant graphic interpretation can serve as an introduction to Dickens for younger readers and perhaps eventually steer them to the wider world of the source material and beyond. (Apr.)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Great Expectationsby Deborah Chiel
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In the marshy mists of a village churchyard, a tiny orphan boy named Pip is suddenly terrified by a shivering, limping convict on the run. Years later, a supremely arrogant young Pip boards the coach to London where, by the grace of a mysterious benefactor, he will join the ranks of the idle rich and "become a gentleman." Finally, in the luminous mists of the village at evening, Pip the man meets Estella, his dazzingly beautiful tormentor, in a ruined garden--and lays to rest all the heartaches and illusions that his "great expectations" have brought upon him. Dickens's biographer, Edgar H. Johnson, has said that--except for the author's last-minute tampering with his original ending--Great Expectations is "the most perfectly constructed and perfectly written of all Dickens's works." In John Irving's Introduction to this edition, the novelist takes the view that Dickens's revised ending is "far more that mirror of the quality of trust in the novel as a whole." Both versions of the ending are printed here.
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My father's family name being Pirrip, and my christian name Philip, my
infant tongue could make of both names nothing longer or more explicit than
Pip. So, I called myself Pip, and came to be called Pip.
I give Pirrip as my father's family name, on the authority of his tombstone
and my sister – Mrs. Joe Gargery, who married the blacksmith. As I never saw
my father or my mother, and never saw any likeness of either of them (for
their days were long before the days of photographs), my first fancies
regarding what they were like, were unreasonably derived from their
tombstones. The shape of the letters on my father's, gave me an odd idea
that he was a square, stout, dark man, with curly black hair. From the
character and turn of the inscription, "Also Georgiana Wife of the Above,"
I drew a childish conclusion that my mother was freckled and sickly. To
five little stone lozenges, each about a foot and a half long, which were
arranged in a neat row beside their grave, and were sacred to the memory of
five little brothers of mine – who gave up trying to get a living exceedingly
early in that universal struggle – I am indebted for a belief I religiously
entertained that they had all been born on their backs with their hands in
their trousers-pockets, and had never taken them out in this state of
Ours was the marsh country, down by the river, within as the river wound,
twenty miles of the sea. My first most vivid and broad impression of the
identity of things, seems to me to have been gained on a memorable raw
afternoon towards evening. At such atime I found out for certain, that
this bleak place overgrown with nettles was the churchyard; and that Philip
Pirrip, late of this parish, and also Georgiana wife of the above, were
dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and
Roger, infant children of the aforesaid, were also dead and buried; and
that the dark flat wilderness beyond the churchyard, intersected with dykes
and mounds and gates, with scattered cattle feeding on it, was the marshes;
and that the low leaden line beyond was the river; and that the distant
savage lair from which the wind was rushing, was the sea; and that the
small bundle of shivers growing afraid of it all and beginning to cry, was
"Hold your noise!" cried a terrible voice, as a man started up from among
the graves at the side of the church porch. "Keep still, you little devil,
or I'll cut your throat!"
A fearful man, all in coarse grey, with a great iron on his leg. A man with
no hat, and with broken shoes, and with an old rag tied round his head. A
man who had been soaked in water, and smothered in mud, and lamed by
stones, and cut by flints, and stung by nettles, and torn by briars; who
limped, and shivered, and glared and growled; and whose teeth chattered in
his head as he seized me by the chin.
"Oh! Don't cut my throat, sir," I pleaded in terror. "Pray don't do it,
"Tell us your name!" said the man. "Quick!"
"Once more," said the man, staring at me. "Give it mouth!"
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Meet the Author
Charles Dickens was the foremost English novelist of the Victorian era and is known for such novels as The Adventures of Oliver Twist, A Christmas Carol, David Copperfield, and A Tale of Two Cities. F.W. Pailthorpe provided illustrations for the original edition of Great Expectations.
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