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Great Expectations

Introduction by Michael Slater

Part of Everyman's Library Classics Series

Author Charles Dickens
Introduction by Michael Slater
Hardcover
$30.00 US
Knopf | Everyman's Library
5.3"W x 8.3"H x 1.2"D   | 21 oz | 12 per carton
On sale Mar 10, 1992 | 544 Pages | 9780679405795
Reading Level: Fountas & Pinnell S
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One of Charles Dickens’s most fascinating novels, Great Expectations follows the orphan Pip as he leaves behind a childhood of misery and poverty after an anonymous benefactor offers him a chance at the life of a gentleman.

From the young Pip’s first terrifying encounter with the convict Magwitch in the gloom of a graveyard to the splendidly morbid set pieces in Miss Havisham’s mansion to the magnificently realized boat chase down the Thames, Great Expectations is filled with the transcendent excitement that Dickens could so abundantly provide.

Written in 1860, at the height of his maturity, it also reveals the novelist’s bittersweet understanding of the extent to which our deepest moral dilemmas are born of our own obsessions and illusions.

This edition includes Dickens’s original, discarded conclusion to the novel, the 1907 Everyman preface by G. K. Chesterton, and twenty illustrations by F. W. Pailthorpe.


Charles Dickens was born in a little house in Landport, Portsea, England, on February 7, 1812. The second of eight children, he grew up in a family frequently beset by financial insecurity. When the family fortunes improved, Charles went back to school, after which he became an office boy, a freelance reporter, and finally an author. With Pickwick Papers (1836–37) he achieved immediate fame. In a few years he was easily the most popular and respected writer of his time. It has been estimated that one out of every ten persons in Victorian England was a Dickens reader. Oliver Twist (1837), Nicholas Nickleby (1838–39), and The Old Curiosity Shop (1840-41) were huge successes. Martin Chuzzlewit (1843–44) was less so, but Dickens followed it with his unforgettable, A Christmas Carol (1843), Bleak House (1852–53), Hard Times (1854), and Little Dorrit (1855–57), which reveal his deepening concern for the injustices of British society. A Tale of Two Cities (1859), Great Expectations (1860–61), and Our Mutual Friend (1864–65) complete his major works. View titles by Charles Dickens
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Chapter I.

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
existence.

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 a time 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
Pip.

"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,
sir."

"Tell us your name!" said the man. "Quick!"

"Pip, sir."

"Once more," said the man, staring at me. "Give it mouth!"
. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
“Great Expectations may be called a novel without a hero . . . In [it] Dickens was really trying to be a quiet, a detached, and even a cynical observer of human life . . . And the final and startling triumph of Dickens is this: that even to this moderate and modern story he gives an incomparable energy which is not moderate and which is not modern. He is trying to be reasonable; but in spite of himself he is inspired.” –G. K. Chesterton

“Great Expectations [is] generally regarded as Dickens’s artistic masterpiece, and a novel profoundly serious in its psychological and sociological import . . . Dickens tell[s] a universal story of human passions, mutual exploitation, selfishness, self-delusion, and selflessness . . . [It] is the subtlest and most profound, as well as the most triumphantly achieved, of all his great novels.” –From the Introduction by Michael Slater

About

One of Charles Dickens’s most fascinating novels, Great Expectations follows the orphan Pip as he leaves behind a childhood of misery and poverty after an anonymous benefactor offers him a chance at the life of a gentleman.

From the young Pip’s first terrifying encounter with the convict Magwitch in the gloom of a graveyard to the splendidly morbid set pieces in Miss Havisham’s mansion to the magnificently realized boat chase down the Thames, Great Expectations is filled with the transcendent excitement that Dickens could so abundantly provide.

Written in 1860, at the height of his maturity, it also reveals the novelist’s bittersweet understanding of the extent to which our deepest moral dilemmas are born of our own obsessions and illusions.

This edition includes Dickens’s original, discarded conclusion to the novel, the 1907 Everyman preface by G. K. Chesterton, and twenty illustrations by F. W. Pailthorpe.


Creators

Charles Dickens was born in a little house in Landport, Portsea, England, on February 7, 1812. The second of eight children, he grew up in a family frequently beset by financial insecurity. When the family fortunes improved, Charles went back to school, after which he became an office boy, a freelance reporter, and finally an author. With Pickwick Papers (1836–37) he achieved immediate fame. In a few years he was easily the most popular and respected writer of his time. It has been estimated that one out of every ten persons in Victorian England was a Dickens reader. Oliver Twist (1837), Nicholas Nickleby (1838–39), and The Old Curiosity Shop (1840-41) were huge successes. Martin Chuzzlewit (1843–44) was less so, but Dickens followed it with his unforgettable, A Christmas Carol (1843), Bleak House (1852–53), Hard Times (1854), and Little Dorrit (1855–57), which reveal his deepening concern for the injustices of British society. A Tale of Two Cities (1859), Great Expectations (1860–61), and Our Mutual Friend (1864–65) complete his major works. View titles by Charles Dickens

Excerpt

Chapter I.

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
existence.

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 a time 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
Pip.

"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,
sir."

"Tell us your name!" said the man. "Quick!"

"Pip, sir."

"Once more," said the man, staring at me. "Give it mouth!"
. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Praise

“Great Expectations may be called a novel without a hero . . . In [it] Dickens was really trying to be a quiet, a detached, and even a cynical observer of human life . . . And the final and startling triumph of Dickens is this: that even to this moderate and modern story he gives an incomparable energy which is not moderate and which is not modern. He is trying to be reasonable; but in spite of himself he is inspired.” –G. K. Chesterton

“Great Expectations [is] generally regarded as Dickens’s artistic masterpiece, and a novel profoundly serious in its psychological and sociological import . . . Dickens tell[s] a universal story of human passions, mutual exploitation, selfishness, self-delusion, and selflessness . . . [It] is the subtlest and most profound, as well as the most triumphantly achieved, of all his great novels.” –From the Introduction by Michael Slater

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