The Victorian City: Everyday Life in Dickens' London [NOOK Book]

Overview


From the critically acclaimed author of The Invention of Murder, an extraordinary, revelatory portrait of everyday life on the streets of Dickens' London.

The nineteenth century was a time of unprecedented change, and nowhere was this more apparent than London. In only a few decades, the capital grew from a compact Regency town into a sprawling metropolis of 6.5 million inhabitants, the largest city the world had ever seen. ...
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The Victorian City: Everyday Life in Dickens' London

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Overview


From the critically acclaimed author of The Invention of Murder, an extraordinary, revelatory portrait of everyday life on the streets of Dickens' London.

The nineteenth century was a time of unprecedented change, and nowhere was this more apparent than London. In only a few decades, the capital grew from a compact Regency town into a sprawling metropolis of 6.5 million inhabitants, the largest city the world had ever seen. Technology—railways, street-lighting, and sewers—transformed both the city and the experience of city-living, as London expanded in every direction. Now Judith Flanders, one of Britain’s foremost social historians, explores the world portrayed so vividly in Dickens’ novels, showing life on the streets of London in colorful, fascinating detail.From the moment Charles Dickens, the century's best-loved English novelist and London's greatest observer, arrived in the city in 1822, he obsessively walked its streets, recording its pleasures, curiosities and cruelties. Now, with him, Judith Flanders leads us through the markets, transport systems, sewers, rivers, slums, alleys, cemeteries, gin palaces, chop-houses and entertainment emporia of Dickens' London, to reveal the Victorian capital in all its variety, vibrancy, and squalor. From the colorful cries of street-sellers to the uncomfortable reality of travel by omnibus, to the many uses for the body parts of dead horses and the unimaginably grueling working days of hawker children, no detail is too small, or too strange. No one who reads Judith Flanders's meticulously researched, captivatingly written The Victorian City will ever view London in the same light again.


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Editorial Reviews

EBOOK COMMENTARY

Praise for THE VICTORIAN CITY

A well-stuffed compendium on the transformational era in the history of London that fed both Charles Dickens’ imagination and his well of outrage…. Flanders writes with bubbling enthusiasm about the old markets, Covent Garden and Smithfield, with their accompanying din and smells, and the plethora of life we only know through Dickens’ eyes: the street vendors and artists, matchstick sellers, slum dwellers, prostitutes, habitués of gin palaces and prisoners. A terrific companion while reading Boz himself.” --Kirkus
“Flanders (The Invention of Murder) successfully recreates the feel of London at Dickens’s peak as she delves deep into the rhythms and architecture of particular neighborhoods…. Flanders’s expertise shines when exposing Dickens’s embellishments, particularly when his character Fagin faces execution rather than the less powerful but more realistic punishment of deportment. This well-researched sociological overview provides highly detailed context for cultural touchstones, while shattering the popular yet inauthentic image of a pristine Victorian age that never existed.” –Publishers Weekly
“Outstanding.” - Sunday Times (London)
“The teeming, bustling, hand-to-mouth and often smelly facts of mid-19th century urban life have seldom been more vividly presented than in this book.” - Literary Review
“With infectious enthusiasm Judith Flanders dives into the sights, smells, sounds and grit of what was then the largest city the world had ever known: London.” - Sunday Telegraph (London)
“Full of detail and colour about everyday life in Dickens's London, and leaves you with a sense not only of how hard life was then, but how strange. Even if you've read Dickens and the contemporary historians of the poor, there is still more to marvel at here.” --Sebastian Faulks, Mail on Sunday Books of the Year (London)
“A quite extraordinary book, which I read with much enjoyment: an intoxicating blend of London, life and literature... I think it's Judith Flanders' best book yet, which is saying something.” --Andrew Taylor“Meticulous and gripping... Flanders says that Dickens appealed to contemporaries because he gave them a voyage into the unknown: into parts of London they did not know and where they would not venture. She does something similar for us. The strangeness remains, but the voyage is unforgettable.” –Independent (UK)
“Flanders captures the variety and colour of 19th-century London, stirring admiration and indignation by turns. To lead us through the Victorian capital, through its hustle and sprawl, its dangers and entertainments, you couldn't hope for a better guide.” --New Statesman (UK)
“Recreates the textures of everyday life with an anthropologist's understanding of human behaviour alongside a storyteller's eye for character.” --Daily Telegraph (UK) Praise for THE INVENTION OF MURDER
“Judith Flanders's wonderful, sometimes appalling The Invention of Murder: How the Victorians Reveled in Death and Detection and Created Modern Crime, is a guidebook to notably grisly true-life tales… [Flanders] shines in her readings of literary novels containing criminal and detective elements, such as Oliver Twist, Mary Barton and Tess of the D'Urbervilles, but can be sharp and very funny about the vagaries of melodramatic and sensational plotting. Holmes once chided Watson, ‘You see but you don't observe.’ Ms. Flanders does both. This is an enticing book for any reader who, like the genteel lady in Emily Eden's The Semi-Detached House (1859), admits: ‘There is such a grand murder in the paper . . . a whole family poisoned . . . it is very shocking, but I like to hear about it.’” –Wall Street Journal
“Flanders’ meticulous research, personable style and keen insights are bliss for anyone interested in the Victorians and their quirks.” –Seattle Times
“Superb… Flanders’s convincing and smart synthesis of the evolution of an official police force, fictional detectives, and real-life cause célèbres will appeal to devotees of true crime and detective fiction alike.” –Publishers Weekly, starred review
“Brilliantly researched and rendered, this is an indispensible read for anyone—scholars and the general public alike—who harbors an interest in the evolution of the notion and representation of murder….Flanders presents a fascinating narrative in well-crafted and at times suitably ironic praise.” –Library Journal, starred review
Library Journal
02/01/2014
Better than a fun fair. Celebrated for The Invention of Murder, a story of Victorian fascination with ghastly crimes, Victorian-era expert Flanders gives us a detailed look at London as Dickens knew it, when it grew from a charming little town to a booming city of 6.5 million. Gin palaces and chop-houses, sewers and slums, markets and entertainment emporia—it's all here for the asking.
Publishers Weekly
05/12/2014
harles Dickens grimly portrayed Londoners as people resigned to hardscrabble living, ubiquitous filth, and prevalent violence, and Flanders (The Invention of Murder) successfully recreates the feel of London at Dickens’s peak as she delves deep into the rhythms and architecture of particular neighborhoods. This information-packed profile of Victorian London offers renewed insight into Dickens’s youth as an imprisoned debtor’s working child; his love of walking the city’s winding streets; and finally, the reality behind the traumatic adventures of such well-known characters as Oliver Twist. The book is divided into four comprehensive sections, covering topics like urban water and road transportation systems, affordable entertainment, and the wide range of linguistic dialects. Only the somewhat abrupt ending, after a segment on suicides, feels incomplete. While Dickens typically hewed close to reality in his work, Flanders’s expertise shines when exposing Dickens’s embellishments, particularly when his character Fagin faces execution rather than the less powerful but more realistic punishment of deportment. This well-researched sociological overview provides highly detailed context for cultural touchstones, while shattering the popular yet inauthentic image of a pristine Victorian age that never existed. (July)
From the Publisher
Praise for THE VICTORIAN CITY

“Judith Flanders's erudite and vivid look at 19th-century London is a reminder that what Charles Dickens —an unflinching observer of urban wretchedness, whom Ms. Flanders rightly hails as ‘the greatest recorder the London streets has ever known’—chronicled in his novels and journalism was merely life as most people then lived it…Ms. Flanders is a beguiling guide, drawing on Dickens's writings to create an irresistible portrait of the English capital at a time of unprecedented expansion… The Victorian City is the perfect companion to Dickens's work.” –The Wall Street Journal

 

"Flanders uses secondary historical sources alongside Dickens's own impressions of the city to take us on a dazzling journey through an imperial city plagued by poverty and deeply divided by class… Flanders must be given credit for doing an astounding job of recreating every nook and cranny of London in this richly detailed compendium. Shying away from academic pretension, Flanders tells the epic story of this biggest and boldest Victorian city in all its complexity, with verve, color and a straightforward approach to language that still manages to give a voice to ordinary Londoners — something Dickens would no doubt approve of." –NPR.org

"Judith Flanders is giving famed English novelist and historian Peter Ackroyd a run for his money in their joint delight over all things London. In this new work, Victorian expert Flanders fields just about every question the intelligent reader might have about Dickensian London." –The Buffalo News, 4 out of 4 stars review

“Weaving a tapestry as colorful as a market flower display, Flanders not only describes such things as changes in transportation but takes us right into the streets, to battle the mud and to be smothered in dust.  The Victorian City is social history at its finest, a must-read for Dickens fans or anyone who loves London. It reminds us why this time period is endlessly fascinating to read about, but probably not a place we’d really want to live.” –BookPage

 

“[Flanders’] imagery is often intense and striking… The streets of London were a constant assault on the senses with their noise and smell. This is a superb portrait of an exciting, thriving, and dangerous city.” –Booklist, starred review

A well-stuffed compendium on the transformational era in the history of London that fed both Charles Dickens’ imagination and his well of outrage…. Flanders writes with bubbling enthusiasm about the old markets, Covent Garden and Smithfield, with their accompanying din and smells, and the plethora of life we only know through Dickens’ eyes: the street vendors and artists, matchstick sellers, slum dwellers, prostitutes, habitués of gin palaces and prisoners. A terrific companion while reading Boz himself.” —Kirkus

“Flanders (The Invention of Murder) successfully recreates the feel of London at Dickens’s peak as she delves deep into the rhythms and architecture of particular neighborhoods…. Flanders’s expertise shines when exposing Dickens’s embellishments, particularly when his character Fagin faces execution rather than the less powerful but more realistic punishment of deportment. This well-researched sociological overview provides highly detailed context for cultural touchstones, while shattering the popular yet inauthentic image of a pristine Victorian age that never existed.” –Publishers Weekly

“Outstanding.” - Sunday Times (London)

“The teeming, bustling, hand-to-mouth and often smelly facts of mid-19th century urban life have seldom been more vividly presented than in this book.” - Literary Review

“With infectious enthusiasm Judith Flanders dives into the sights, smells, sounds and grit of what was then the largest city the world had ever known: London.” - Sunday Telegraph (London)

“Full of detail and colour about everyday life in Dickens's London, and leaves you with a sense not only of how hard life was then, but how strange. Even if you've read Dickens and the contemporary historians of the poor, there is still more to marvel at here.” —Sebastian Faulks, Mail on Sunday Books of the Year (London)

“A quite extraordinary book, which I read with much enjoyment: an intoxicating blend of London, life and literature... I think it's Judith Flanders' best book yet, which is saying something.” —Andrew Taylor

“Meticulous and gripping... Flanders says that Dickens appealed to contemporaries because he gave them a voyage into the unknown: into parts of London they did not know and where they would not venture. She does something similar for us. The strangeness remains, but the voyage is unforgettable.” –Independent (UK)

“Flanders captures the variety and colour of 19th-century London, stirring admiration and indignation by turns. To lead us through the Victorian capital, through its hustle and sprawl, its dangers and entertainments, you couldn't hope for a better guide.” —New Statesman (UK)

“Recreates the textures of everyday life with an anthropologist's understanding of human behaviour alongside a storyteller's eye for character.” —Daily Telegraph (UK)

 

Praise for THE INVENTION OF MURDER

“Judith Flanders's wonderful, sometimes appalling The Invention of Murder: How the Victorians Reveled in Death and Detection and Created Modern Crime, is a guidebook to notably grisly true-life tales… [Flanders] shines in her readings of literary novels containing criminal and detective elements, such as Oliver Twist, Mary Barton and Tess of the D'Urbervilles, but can be sharp and very funny about the vagaries of melodramatic and sensational plotting. Holmes once chided Watson, ‘You see but you don't observe.’ Ms. Flanders does both. This is an enticing book for any reader who, like the genteel lady in Emily Eden's The Semi-Detached House (1859), admits: ‘There is such a grand murder in the paper . . . a whole family poisoned . . . it is very shocking, but I like to hear about it.’” –Wall Street Journal

“Flanders’ meticulous research, personable style and keen insights are bliss for anyone interested in the Victorians and their quirks.” –Seattle Times

“Superb… Flanders’s convincing and smart synthesis of the evolution of an official police force, fictional detectives, and real-life cause célèbres will appeal to devotees of true crime and detective fiction alike.” –Publishers Weekly, starred review

“Brilliantly researched and rendered, this is an indispensible read for anyone—scholars and the general public alike—who harbors an interest in the evolution of the notion and representation of murder….Flanders presents a fascinating narrative in well-crafted and at times suitably ironic praise.” –Library Journal, starred review

Kirkus Reviews
2014-05-17
A well-stuffed compendium on the transformational era in the history of London that fed both Charles Dickens' imagination and his well of outrage.From his first published work, Sketches by Boz (1836), set in pre-Victorian London, until his last, unfinished novel, Edwin Drood (1870), Dickens drew on the life and characters of his beloved city. In her prodigiously detailed work, British journalist Flanders (The Invention of Murder: How the Victorians Reveled in Death and Detection and Created Modern Crime, 2013, etc.) reminds readers that "Dickensian" changed in meaning from the early part of the author's career—when it meant "comic"—to a posthumous sense of "grim" and "dark." Indeed, Dickens, the tireless walker of the London streets, author of nimble imagination who composed several works at once, covered all of the city as the early Victorian era of "earnestness and endeavor" gave way to the "moving age" involving increased population, paralyzing traffic, industry, building and slums. Where to begin in such a work? On the street, of course, from just getting around, as most people did by foot, arriving for 12-hour-plus working shifts in a dusty mess and assaulted by a roar of noise; to taking horse-drawn omnibuses, hackney coaches, mail coaches, cabs and so on, all susceptible to natural hazards like fog. The greatest change to London was the arrival of the railroad in 1836, which sliced through old neighborhoods Dickens knew keenly, Moreover, the railways became for him "symbols of a time that was passing, or past." Flanders writes with bubbling enthusiasm about the old markets, Covent Garden and Smithfield, with their accompanying din and smells, and the plethora of life we only know through Dickens' eyes: the street vendors and artists, matchstick sellers, slum dwellers, prostitutes, habitués of gin palaces and prisoners.A terrific companion while reading Boz himself.
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Product Details

  • ISBN-13: 9781466835450
  • Publisher: St. Martin's Press
  • Publication date: 7/15/2014
  • Sold by: Macmillan
  • Format: eBook
  • Pages: 544
  • Sales rank: 38,392
  • File size: 11 MB
  • Note: This product may take a few minutes to download.

Meet the Author


JUDITH FLANDERS is an international bestselling author and one of the foremost social historians of the Victorian era. Her book Inside the Victorian Home was shortlisted for the British Book Awards History Book of the Year. Judith is a frequent contributor to the Daily Telegraph, Guardian, Spectator, and the Times Literary Supplement. She lives in London.

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Read an Excerpt


1.

EARLY TO RISE

 

It is 2.30 in the morning. It is still night, but it is also ‘tomorrow’. By this hour at Covent Garden market, in the centre of London, the streets are alive. Long lines of carts and vans and costermongers’ barrows are forming in the surrounding streets. Lights are being lit ‘in the upper windows of public houses – not the inhabitants retiring to rest, but of active proprietors preparing … for the new day … The roadway is already blocked up, and the by-streets are rapidly filling.’

By dawn, the streets leading into London were regularly filled with carriages, with carts laden with goods, and with long lines of men and women (mostly women), plodding down Piccadilly, along Green Park, on their way to Covent Garden, carrying heavy baskets of fruit on their heads as they walked from the market gardens in Fulham several miles away. More approached Covent Garden from the south, from the market gardens that lined the south-west side of the river.

Interspersed with these suppliers and produce sellers were many more who made their living around and in the markets. The coffee-stall keepers appeared carrying cans of coffee from yokes on their shoulders, the little smudge-pot charcoal fires already lit underneath, winking in the diminishing darkness. Then ‘a butcher’s light chaise-cart rattled past … with the men huddled in the bottom of the vehicle, behind the driver … dozing as they drove along’, followed by ‘some tall and stalwart brewer’s drayman … (for these men are among the first in the streets), in his dirty, drab, flushing jacket, red night-cap, and leathern leggings’.

These early risers had woken long before daybreak with the aide of various stratagems. Alarm clocks had not yet been invented (wind-up alarm clocks did not appear until 1876), and even clocks were beyond the reach of most workers.* In the first three decades of the century, the watch patrolled the streets nightly, dressed in long, drab greatcoats and slouch hats, carrying rattles and calling out the half-hours. For a small fee, these men stopped at houses along their routes, to waken anyone who needed to be up at a specific time. Later this job of knocking up, as it became known, was taken on by the police – a useful way to earn a little extra cash, as well as an aid to good community relations. As the constables walked their beats, they tapped on the window with a long stick, or banged the knocker as they passed, waiting for an ‘All right!’ to be shouted from indoors in acknowledgement. The very poor, who could not afford the requisite penny or two a week, paid a halfpenny or so to an equally poor fellow worker who woke his friends on his way home from nightwork.

Among the first people out on the street each morning were the coffee-stall keepers. Today, eating out is more expensive than cooking at home, but in the nineteenth century the situation was reversed. Most of the working class lived in rooms, not houses. They might have had access to a communal kitchen, but more often they cooked in their own fireplace: to boil a kettle before going to work, leaving the fire to burn when there was no one home, was costly, time-consuming and wasteful. Water was a rare and precious commodity in working-class housing, which did not begin to see piped water (usually just to the basement kitchens) until late in the century. The nearest running water might be a street pump, which functioned for just a few hours a week. Several factors – the lack of storage space, routine infestations of vermin and being able, because of the cost, to buy food only in tiny quantities – meant that storing any foodstuff, even tea, overnight was unusual. Workers therefore expected to purchase their breakfast on their way to work.

After getting up in the dark and the cold, wrote Thomas Wright, an ex-labouring man,* ‘the gleam from the hot-coffee stall comes like a guiding star … Here you get warmth to your hands on the outside of the cup, and for the inner man from the liquid, which you get piping hot, for the proprietors of the stalls are aware that that quality is regarded by their morning customers before strength or sweetness.’ These stalls mostly appeared at the edges of the city and in the centre, with fewer in the suburbs: in Camberwell, in the late 1850s, one memoirist says that there were ‘street refreshment stalls at night in some localities, but I never saw one’. On the major routes, however, these stalls were everywhere, ranging from the simplest makeshifts to elaborate structures. Some consisted of a board laid over a pair of sawhorses, a can of coffee kept hot by a charcoal burner, and a few plates of bread and butter; if the owner could manage a blanket over a clothes horse to protect a bench from the wind, all the better. Others were more robust. The journalist George Augustus Sala described one Covent Garden stall as ‘something between a gipsy’s tent and a watchman’s box’.* At Islington, a regular coffee stall by a pub was erected nightly: out of a hand-barrow came benches, a table and ‘a great bright tin boiler with a brass tap’, heated by a coke fire, and all enclosed in a cosy canvas tent. A lamp was lit, the table was covered with a cloth and laid with cups, saucers, a loaf and a cake, and in fifteen minutes a snug little booth was ready for customers.

Who the customers were, and which the busy times, varied by location and cost. A cup of coffee and ‘two thin’ – two thin pieces of bread and butter – was a penny in the West End and City; around the docks, where the customers were entirely working class, it was half that. Street sellers of food, walking to the markets to get their supplies for the day from about 3 a.m., were early visitors; later the night-workers heading home crossed with the day-workers, and at working-class stalls there was generally ‘some thinly clad, delicate-looking factory boy or girl’ standing by hopefully. The ‘popular belief among working men’, said Wright, is that ‘a fellow is never any poorer’ for buying something hot for those even worse off than themselves.

The journalist James Greenwood spent a night with a coffee-stall holder in Islington, watching the customers come and go.† The stall was set up at 11.30, just as the tavern near by was closing. In the first hour there were only two paying customers, a night cabman and ‘an unfortnight’ (unfortunate – the standard polite term for a prostitute), plus a beggar. Then came a blind boy who sang in pubs and his father, four street-sweepers and three ‘tipsy gents’. From 1.30 to 2.30 a.m., a number of men dropped by to sober up; then the ‘very worst sort of customers’ appeared: those who had nowhere to sleep, and eked out halfpenny cups of coffee by the charcoal fire for as long as they could; others did not even have the halfpence, but were allowed by the soft-hearted stall-keeper to sit by the fire all the same. Between 2.30 and 3.30, three more unfortunates stopped by, and two labourers asking the way to the Uxbridge road: they had, they said, been three days searching for work, and were returning home, having had no luck. One of the unfortunates made the offer: ‘pitch into the bread and butter and coffee; I’ll pay,’ and, the stall-keeper reported, ‘I’m proud to say that they used her like honest chaps, eating a tidy lot, certainly, but not half, no, nor a quarter as much’ as they obviously wanted to, after which they thanked her politely and refused the 6d she tried to give them. They were followed by a cabman with a drunken passenger. By 3.30 the cattle-drovers began to arrive, filling the space with their dogs, ‘which makes it uncomfortable’, said the stall-keeper, but he knew that if he remonstrated they would upend his trestle-boards and destroy his livelihood: ‘I’m thankful I only have their company two mornings in the week.’ From then it was more prostitutes until around five, when the daily workers arrived. From this the stallholder earned around £30 a year for an eight- or nine-hour workday, six days a week, fifty-two weeks of the year: about average for a street seller.

*   *   *

An hour or so after the workmen set out in the morning, it was the turn of the office workers. Every morning it was the same, a thick black line, stretching from the suburbs into the heart of the City; every evening the black line reversed, dispersing back to its myriad points of origin, as hundreds of thousands of men tramped steadily to and from work, the ‘clerk population of Somers and Camden towns, Islington, and Pentonville … pouring into the city, or directing their steps towards Chancery-lane and the Inns of Court. Middle-aged men … plod steadily along … knowing by sight almost everybody they meet or overtake, for they have seen them every morning (Sunday excepted) during the last twenty years, but speaking to no one.’ Thus wrote the young journalist Charles Dickens.

These middle-aged clerks were sober in white neckcloths and black coats, although their neckcloths were often yellow with age, while the black dye of their coats had turned rusty brown. The secret ambition of the clerk Reginald Wilfer in Our Mutual Friend was to be able to afford an entirely new suit of clothes all at once. There were also younger, unmarried clerks, ‘dashing young parties who purchase the pea-green, the orange, and the rose-pink gloves; the crimson braces, the kaleidoscopic shirt-studs, the shirts embroidered with dahlias, deaths’ heads, racehorses, sun-flowers, and ballet-girls … the shiniest of hats, the knobbiest of sticks’. In Bleak House, when Mr Guppy proposes to Esther, he puts on a new suit, ‘a shining hat, lilac-kid gloves, a neckerchief of a variety of colours, a large hot-house flower in his button-hole, and a thick gold ring on his little finger’.

Of whatever type, ‘each separate street, pours out its tide of young men into the City. From the east and the west, the north and the south, on it comes … clerks of all ages, clerks of all sizes, clerks from all quarters, walking slowly, walking fast, trotting, running, hurrying’. This implies variety, but in reality these commuters moved in an extraordinarily regimented way. In an age when traffic was not constrained by any regulations – with no rules about which side of the street to drive on; no one-way streets – walking was, by contrast, ‘reduced to a system’, with everyone walking on the right. One worker living south of the river bought the Morning Star every day at a tavern near his house, and ‘So orderly was the traffic throughout that route that I could, by keeping to the right, read my paper the whole way’ as he walked the three miles to the City.

The scale made it a sight, but walking was the most common form of locomotion throughout the nineteenth century. By mid-century it was estimated that 200,000 people walked daily to the City; by 1866 that figure had increased to nearly three-quarters of a million. These were numbers worth catering to. By seven, or even six o’clock, depending on the trade, many shops had taken down their shutters. Bakers were among the first to open, supplying servants and children sent to fetch breakfast bread and rolls, as well as the passing lines of walkers, serving them with breakfast on the hoof, just as earlier the labourers had bought theirs from the coffee stalls. The poet Robert Southey early in the century asked a pastry-cook-shop owner why all their windows were kept open, even in the rain. ‘She told me, that were she to close it, her receipts would be lessened [by] forty or fifty shillings a day’ as commuters reached in to buy a loaf or a bun as they passed – 40s equating to 480 penny loaves, or around 500 customers buying a daily walking breakfast from that one shop alone.

It was not only the working classes and the clerks who travelled on foot, however. In our time of public and private mass transport, the walkability of London has almost been forgotten. But in the nineteenth century, Londoners walked, without much differentiation between economic groups. In 1833, the children of a middle-class musician living in Kensington walked home from a concert in the City. Two decades later, Leonard Wyon, a prosperous civil servant, and his wife shopped in Regent Street, then walked home to Little Venice. In 1856, the wealthy Maria Cust returned from her honeymoon, walking with her husband from Paddington to Eaton Square. And according to Dickens (in a letter he may have coloured somewhat for comic effect), a child who got lost at the Great Exhibition in Hyde Park was found by the police in Hammersmith, ‘going round and round the Turnpikes – which he still supposed to be a part of the Exhibition’. All except the first journey are, to the modern eye, surprisingly short, less than three miles. Even the longest, to Kensington from St Paul’s, is only four and a half miles.

Put in this context, the amount of walking done by the characters in Dickens’ novels is not as unusual as it appears today. In Bleak House, Peepy, a small child living in Thavies Inn, near Gray’s Inn Road, is ‘lost for an hour and a half, and brought home from Newgate market’, a mile away, having most likely walked through the slum of Saffron Hill. The more prosperous characters in the novel also walk across London, the women alone at night sometimes taking hackneys, but not always even then. The Jarndyce cousins go to the theatre by fly (rented coach) when they are staying in lodgings in Oxford Street, but in the daytime they walk to Holborn, to Westminster Hall and, on ‘a sombre day’, with ‘drops of chilly rain’, to Chancery Lane. Mr Tulkinghorn walks from the Dedlocks’ house, probably in Mayfair (this is the one place in the novel not given a specific location), to his own chambers in Lincoln’s Inn Fields, and even Lady Dedlock follows him there and back on foot. Even at 4 a.m., Esther and Mr Bucket walk from Cursitor Street to Drury Lane, which probably takes them less than a quarter of an hour, but much of their route is through Clare market and Drury Lane slums. The lower-middle-class or working-class characters walk even further afield. Prince Turveydrop, a dancing master, walks from Soho to Kensington; Mr George from Mount Pleasant, in Clerkenwell, over Waterloo Bridge, then to the Westminster Bridge Road; he returns, again on foot, to Leicester Square. What is today even more unexpected is the number of middle-class women walking alone in Dickens’ novels. In Our Mutual Friend, Bella Wilfer walks from Holloway to Cavendish Square without comment; people look at her only when she reaches the City, where few women were to be seen on the streets. In Little Dorrit, Amy Dorrit, at this point in the novel wealthy, walks from the Marshalsea prison, south of the river, to Brook Street in the West End. None of these walks is commented on as unusual – there is no mention that the women concerned tried and failed to find a coach, or that a carriage was not available. Walking was the norm.

Many of those walking long distances then worked twelve-, fourteen- or sixteen-hour days, at the end of which they then walked home again. The great journalist of working-class London, Henry Mayhew, noted in passing what he considered ‘the ordinary hours’ of employment: from six to six.* At Murdstone and Grinby’s wine warehouse, the eight-year-old David Copperfield works until 8 p.m., walking to and from his lodgings in Camden Town. Many people worked much longer hours. Shifts for drivers of hackney cabs were always long: the shorter shifts lasted eleven or twelve hours, the long shifts from fourteen to sixteen hours, sometimes more. (The horses could work nothing like these hours: two or three horses were needed for a twelve-hour shift.) Even worse were the hours of many omnibus employees: frequently drivers and conductors (known as ‘cads’, probably from ‘cadet’, that is, the junior partner of the team) worked twenty hours at a stretch, beginning at 4 a.m. and ending at midnight, with an hour and a half off during that time. The industry average, however, was fifteen hours: 7 a.m. to midnight, with seven minutes for dinner, and ten minutes between journeys at the termini.

Shop assistants worked equally long hours. One linen draper told his fellows at the Metropolitan Drapers’ Association that he had started to close his shop at 7 p.m. instead of 10 – thus working an eleven-hour day – and had found it saved money: ‘so cheerful and assiduous’ were the staff made by these short hours that he could manage with fewer employees. Henry Vizetelly, later a publisher, worked his apprenticeship as a wood-engraver, walking ten miles daily from Brixton to Judd Street in Bloomsbury and back, leaving his lodgings at about six and arriving home again around ten. And, he pointed out in his memoirs, he was lucky: City hours were longer. The description of the Cheeryble brothers’ City firm in Nicholas Nickleby accords with his recollection. Their manager opens up the office six days a week at 9 a.m. and locks up again after the last employee goes home at 10.30 p.m., ‘except on Foreign Post nights’, when the letters abroad go late, to catch the last post; then the office closes at 12.20 a.m.* The Cheeryble employees thus work an eighty-five-hour week. Yet their business is presented to the reader as the epitome of benevolence and good employment practices.

 

Copyright © 2012 by Judith Flanders


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Table of Contents


PART ONE: THE CITY WAKES
1810: The Berners Street Hoax
1. Early to Rise
2. On the Road
3. Travelling (Mostly) Hopefully
4. In and Out of London
PART TWO: STAYING ALIVE
1861: The Tooley Street Fire
5. The World’s Market
6. Selling the Streets
7. Slumming
8. The Waters of Death
PART THREE: ENJOYING LIFE
1867: The Regent’s Park Skating Disaster
9. Street Performance
10. Leisure for All
11. Feeding the Streets
12. Street Theatre
PART FOUR: SLEEPING AND AWAKE
1852: The Funeral of the Duke of Wellington
13. Night Entertainment
14. Street Violence
15. The Red-Lit Streets to Death
Appendix: Dickens’ Publications by Period

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    Posted July 31, 2014

    Home sweet home

    A two story, victorian style house. The front room is well lit and airy with a high ceiling and lots of windows with white curtains. A wide set of stairs lead to the second floor. The bedrooms are upstairs and the master bedroom has a balcony over the front door. The big, four poster bed is comfortable with soft sheets. The master bathroom has a whirlpool and there is a walk-in closet The kitchen and main room are downstairs. The kitchen has a bar as well as a table and it has anything a cook could need. The living room has a large fireplace and couches and chairs to sit on. A glass coffee table is in the center of the room. The backyard is well shaded with big trees and a small garden.

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