The Dickensian: Editors, Contributors, Readers, 1905-2005

Litvack, L. (2005). The Dickensian: Editors, Contributors, Readers, 1905-2005. Dickens Quarterly, 22, 68-79.

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THE DICKENSIAN: EDITORS, CONTRIBUTORSAND READERS, 1905–20051

LEON LITVACK(Queen’s University, Belfast)

I n the inaugural issue of The Dickensian, the journal’s editor, B.W. Matz, said that at the founding of the Dickens Fellowship in 1902, its express desire was to establish a magazine “devoted to Dickens,

his life, his work, and influence.” He provided a sketch of its potentialcontents, including articles on the novelist’s works; biographicaland bibliographical studies from new sources; portraits, illustrations,and topographical sketches; poetical tributes –“indeed anything andeverything,” he said, “likely to interest the student and lover of England’sgreatest novelist” (Matz 1). This pioneering Dickensian, who was areader for the publisher Chapman and Hall, also had sufficient fore-sight to include in each issue an index, listing details of all articles andtopics in the preceding number. The journal was published monthly,with approximately thirty-two pages of text in green paper covers, thusproviding an authentically Dickensian feel to the enterprise. The con-tents of the first number will have a familiar ring for those who presentlysubscribe: reports from Fellowship branches; notices of new books; theobituary of noted Dickensian F.G. Kitton (who would have been thefirst editor, had it not been for his untimely death); a critique of thenovelist’s work in 1837; a poetical tribute to Dickens; a calendar ofDickensian quotations for each day of the month; and an originalarticle on Dickens and Walter Scott. 4000 copies of this first issue weresold; Matz (whose motto was “Do it now”) rightly declared it a“success…greater than was ever anticipated” (Matz 309).

The contents provide insight into the peculiar character of the journal.Above all, it was the official organ of the Fellowship, and, as such,featured items that would have been of communal interest: notices oflectures, dramatizations, readings, musical evenings, parties, fundraisingevents for charitable causes,2 Droodian investigations, and Pickwickianperambulations. But it was also evident from the start that it was aburgeoning outlet for the more serious student of Dickens’s life andwork. Some of the more carefully researched early pieces were by Matzhimself, writing under his own name, or under his pseudonym, “O.Sack.” He had an intimate knowledge of the works, as did other earlycontributors, including J.W.T. Ley (who also wrote as “Old Fleet” and“Yule B. Merrie”);3 the breadth of their knowledge truly puts manymodern-day Dickensians to shame. Issues published by Matz includedtopographical essays, critical appreciations, pieces on Dickens’s illustra-

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tors, an assembly of Dickens’s scattered journalistic pieces fromHousehold Words, and four special “American numbers.” Also featuredwere Dickensian examination papers, with prizes for the best answers tosuch questions as, in connection with David Copperfield, “What is aDodman, and by whom is the term mentioned?” The answer was “a snail,mentioned by Mr Peggotty in chap. 7” (“An Examination in Dickens’sWorks” 216, 246). There were notices of Dickensian cigarettes andcigars, coverage of speeches by Dickens’s daughter Kate, and recitals byhis son, Henry Fielding Dickens. There were interviews with those whoknew Dickens, including his illustrator Marcus Stone (“Mr. MarcusStone, R.A.”) There was also a stream of news about a wonderful tech-nological innovation that affected how Dickens’s work is visualized: thecinematograph. The Dickensian provides a fascinating record of earlyfilms of such works as A Tale of Two Cities and A Christmas Carol, andthus contributes much to the early history of cinema (see, for example,“Dickens on the Cinematograph,” “Dickens as an Object Lesson,” and“David Copperfield on the Cinematograph”; for a modern assessmentsee Petrie).4

After the First World War, because of the economic crisis, the costof producing the journal soared; in 1919 it was changed from a monthlyto a quarterly to ensure its survival. Matz continued at the helm until1925, when he died, but not before securing the purchase of 48 DoughtyStreet, which now, of course, houses the Dickens Museum., and servesas the Fellowship’s headquarters The torch passed to Walter Dexter, aprolific Dickensian, and founding member of the Fellowship, who alsoused the pseudonyms “L.A. Kennethe,” “C.T. Roade,” and “D. HubbleUdy”; he was a businessman, with a passion for Dickensian topographyand amateur theatricals. Under his editorship there emerged his ownlisting of all Dickens’s public readings (“Mr. Charles Dickens WillRead”); his record of Dickensian cartoons in Punch (“Dickensian PeepsInto ‘Punch’,” based on the work of Kitton); his index to the first thirtyyears of the journal (The Dickensian…Index…1905 to 1934); T.W. Hill’spioneering annotations of the novels;5 and transcripts of Dickens letters,eventually collected for various publications, including Dexter’s famousNonesuch edition of 1938. His tenure continued through most of theSecond World War—a period when he himself was a Civil Defencewarden, working on the next number of The Dickensian with gas maskand steel helmet at the ready, and a time when several buildingsassociated with the novelist were destroyed. The journal gave a list-ing of these demolitions in a series entitled “Some Damage Has BeenReported….”

When Dexter died suddenly in 1944, the Fellowship luckily found asuccessor in Leslie Staples, who did valuable work on Dickensiancorrespondence, biography, and topography; he also published his

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fascinating series called “Shavings from Dickens’s Workshop,” whichreprinted many passages cut from the novels at proof stage.6 In addition, hepublished important work by W.J. Carlton on the novelist’s early years(“In the Blacking Warehouse”); Malcolm Morley’s pieces on dramati-zations (for example, “Early Dramas of Oliver Twist”)7 and on theTernan family (“The Theatrical Ternans”); and a Copperfield centenarynumber in 1949, which featured, among other items, John Butt’simportant discussion of the number plans (“Dickens’s Notes for HisSerial Parts”)—a line of investigation that underpinned the ClarendonDickens series. Staples presided over The Dickensian at a time when theimpact of the milestone studies by Edmund Wilson (The Wound and theBow), George Orwell (“Charles Dickens”), and Humphry House (TheDickens World) was beginning to be felt. It was a time when Dickens wasfalling “into the hands of the professionals” (Westland 208). As theTimes Literary Supplement noted:

It is to the credit of Mr Staples that he has recognized and encour-aged these new lines of investigation. An occasional academichad appeared in the journal in earlier decades, particularly on theDrood controversy (which, like the Baker Street mysteries, has alwaysbeen a donnish weakness), but it was not until around 1948 thatdons began to appear frequently in its pages—Humphry House, JohnButt, K.J. Fielding, Edgar Johnson, Kathleen Tillotson—soon followedby a mob of young doctorate gentlemen who wrote with ease aboutsuch new-fangled toys as imagery. (“The Amateur Contribution” 157)

Among them was Michael Slater (referred to in the TLS piece as a“capable young Dickens scholar”) who took over from Staples justbefore the Dickens centenary, and, aided by Anthony Burton, intro-duced significant innovations in the next decade. The centenary was dulycelebrated by, for example, publishing a special issue on “Dickens andFame 1870–1970,”8 and by printing the Dickens Memorial Lectures. In 1974,important research concerning the life and work of Dickens’s mostintimate friend was published in a special John Forster commemora-tive number, edited by Burton; in the same year the journal publishedDeborah Thomas’s listing of contributors to the Christmas numbers ofHousehold Words and All the Year Round. Slater rose admirably to thechallenges posed by his contributors, among whom was KathleenTillotson; she would ring him, saying that he should reserve for her acertain number of pages in the next issue, and that the article wouldfollow in due course! Slater would then nervously leave the necessaryspace, with no forewarning of the article’s subject. The Slater-Burtonyears also saw the publication of “The Year’s Work in Dickens Studies”;this annual survey offered insightful commentary on the most significant

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works published on Dickens worldwide from 1967 to 1980.9 It was alsothrough Slater’s efforts that the Kraus-Thomson Organization reissuedall volumes of The Dickensian;10 this reprint provided the ideal oppor-tunity for Frank Dunn to produce his Cumulative Analytical Index,which documented a wealth of valuable information for a new genera-tion of readers.

Another young doctorate gentleman was Andrew Sanders, who tookover the editorship in 1978, and embraced the burgeoning range ofcritical approaches to Dickens. A strong biographical focus was stillmaintained, through the publication of, for example, Michael Allen’sfive pieces on Dickens’s early life. Sanders brought to The Dickensian awide personal interest in all aspects of the Victorian period; this was inturn reflected in the journal’s presentation of Dickens in a wider Victoriancontext. This editor achieved a real “exclusive” when he got DavidEdgar to write about how he had transposed Dickens’s text for theacclaimed Royal Shakespeare Company production of NicholasNickleby (“Adapting Nickleby”).

In 1987 Sanders was succeeded by Margaret (“Peggy”) Reynolds,whose five years at the helm featured excellent reviews, critical in-sights into the women in Dickens’s fiction (see Darby and Waters), newconsiderations of minor works (Glancy, Greenman, and Brattin), andreports concerning the preservation of Gad’s Hill Place. Reynolds inturn was succeeded in 1991 by the present editor, Malcolm Andrews(who had played the leading role in compiling “The Year’s Work inDickens Studies” under Slater, who was his doctoral supervisor). In hisown editorship he has presided over an enlarged, and more interna-tional, stable of authors; he has also expanded the journal, becauseof the pressure to publish more and more high-quality pieces. High-lights in this period include a special bumper issue to mark thesesquicentenary of the Carol, complete with red wrapper, and illumi-nating work in such areas as film studies (Petrie) and archival research(Litvack), as well as gender, Marxist, psychoanalytic, and, of course,historicist criticism. The most significant recent development occurredin 2002, when the Pilgrim Letters project reached its conclusion.Through Andrews’s efforts, The Dickensian has undertaken to publish newlydiscovered correspondence, which will, in due course, be collected intoa supplementary Pilgrim volume (“Editorial: The Letters of CharlesDickens”).

These highlights have thus far concentrated on what The Dickensianhas achieved in advancing an academic approach to Charles Dickenssince 1905. It is interesting to compare the aims of Matz and otherswith those of the founders of the Dickens Studies Newsletter, forerunner ofThe Dickens Quarterly. In March 1970, Robert Partlow and Robert Pattenissued a two-page circular which clearly identified the aim of the new

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journal: “to establish a means of communication among scholars, crit-ics and students interested in The Inimitable” (“Dickens Studies News-letter”). These two scholars, who formed part of the ad hoc AdvisoryBoard, believed that there was a need for an American journal whichwould not replicate the function of The Dickensian (mentioned by namein the circular), but rather would include such items as a quarterly bib-liography of current publications, an annual report on works in progress,and reviews. The Newsletter would, they believed, be more flexible thanthe Dickens Studies Annual (the first volume of which emerged in 1970),and would, owing to the cessation of “Works in Progress” in Papers of theModern Language Association (PMLA), provide academics with moretimely notification about developments in the field of Dickens studies.There was, undeniably, a shared scholarly spirit cultivated by thefounders, and evident annually at conventions of the Modern Lan-guage Association, where members of the Dickens Society met for aspecial session of papers, followed by dinner and a brief business meet-ing, at which the affairs of the journal were discussed. Subscription tothe Newsletter (now the Quarterly) brought with it the privilege of mem-bership of the Society, an organisation which, de facto, was and is almostexclusively populated by academics. Those who have attended the sym-posia—which now take place on alternating sides of the Atlantic—will, no doubt, confirm that they are wonderful social occasions, wherefriendships are made or renewed, good cheer enjoyed, and stimulatingDickensian topics and ideas presented and debated. There is, interestingly,significant interchange between British and American scholars in TheDickensian and The Dickens Quarterly. One need look no further thanthe output and personality of the current editor of The Dickensian,Malcolm Andrews, to observe this cross-fertilization: his publicationsregularly appear in the Dickens Quarterly, including a fascinating pieceon “The ‘Set’ for Charles Dickens’s Public Readings”; he has also recentlycompleted a term as President of the Dickens Society.

Andrews’s position and perspective are interesting in another respectas well: he is able to offer insight into the interactions betweenacademics and enthusiasts. In 1939 Edmund Wilson disparaginglydescribed the typical Dickens expert as an “old duffer” who was prima-rily interested in “proving that Mr. Pickwick stopped at a certain innand slept in a certain bed” (Wilson 2). Ella Westland, in her survey oftrends in Dickens criticism for The Dickens Quarterly, discusses Wilsonand his successors, highlighting the “problem of a separation of spheres”between lay and professional readers which, she believes, is “moremarked with Dickens than with any other novelist” (209). She care-fully demonstrates how Dickens’s success among the professionals“threatened to cut out” the “amateurs” who had “kept a love of Dickensalive” for well over a century (211). Her remarks are taken up by

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Andrews himself, in an article for the Quarterly, in order to examinethe “fault-line” between the two constituencies (“I will live” 206).He observes that The Dickensian has positioned itself precisely on thisperceived divide, serving two quite different audiences. Indeed arecent issue features an erudite article by Masao Uchida on the activitiesof the Chancery Reform Association and Dickens’s “A DecemberVision,” together with “Fellowship Notes and News” by Tony Williams,featuring “Dickens the Sportsman,” “Dickens in French,” “Dickensand ‘the kybosh’,” and ending with the news that the new Lord Mayorof London is a member of the City Pickwick Club—a marvellousmélange!

Andrews speaks from personal experience about the “occasionally exas-perated responses of lay readers to papers delivered by academics” at DickensFellowship conferences, because the “languages and practice of criticaltheory” seem “largely inaccessible and rebarbative.” He recalls oneparticularly poignant comment on an academic delivery: “But why can’twe just enjoy the novels? We can do without this kind of psychoana-lyzing of what we read: it makes no difference to our enjoyment” (“Iwill live” 206). While such exasperated pleas are never made atDickens Society symposia, they are enunciated at Fellowship gatherings,and underline the sensitivity that must be exercised when choosingcontent for The Dickensian, which serves not only its academic subscribers(many of whom are Fellowship members), but also a host of others:sociable people who love to discuss Dickens in company, book-clubreaders, movie makers and writers of radio dramas, collectors of booksand memorabilia, popular biographers, and those who love a goodcomedy or mystery; if the aim of keeping Dickens relevant for succeedinggenerations is to be maintained there must be something in TheDickensian for all of these groups.

Contributors to The Dickens Quarterly might not be aware of theextent to which the Dickens Fellowship contributes practically andactively to research on the author. For instance, while there is noformal financial link between the Fellowship and the Dickens Museumin London (a building whose purchase was secured by B.W. Matz andothers), the Fellowship does contribute to the purchase, for theMuseum’s collection, of particular objects that appear at auction. Itwill also offer support to an important initiative the Museum hasconceived: an authoritative online public access catalogue of itsholdings. This long-term project will bring together, in one stream-lined, web-based package, an illustrated resource describing themuseum’s holdings of historic objects, paintings, photographs, manu-scripts, and primary and secondary print material. It will introduce a wideraudience—including international scholars, enthusiasts, and pupils—tothe range of unique items in the collection (many of which are currently

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unknown and underused), and, more generally, to Dickens and his world.The Fellowship (which appoints the majority of the Museum’s Trust-ees) will play an important role in the development and maintenanceof this resource, thus greatly facilitating the work of the doctorateladies and gentlemen alluded to in the TLS piece quoted above—whether actually, in their research visits to the Museum, or virtually,through online access. The Dickensian, which, by its editor’s admission,inclines towards “literary and biographical archaeology,” will also haveits part to play in excavating “the remains of Dickens’s world” (“I willlive” 207), by reporting on the progress of this cataloguing project,through its regular accounts of developments at the Dickens Museum.

The observations in this article originate in an after-dinner speechgiven at the Fellowship’s Birthday dinner in London, where a toast to“The Immortal Memory” of Charles Dickens was proposed, along withone to mark the centenary of The Dickensian. Such gestures and ritualsattest to the Fellowship’s mission, which is to dissolve time and keepDickens alive—an endeavor in which the journal, its editors, contribu-tors, and readers all play crucial roles.

NOTES

1 The following sources have been particularly helpful in documenting the firstsixty years of The Dickensian’s existence: J.W.T. Ley, “The History of ‘The Dickensian’,”Dickensian 22 (1926): 22, 121–9; Leo Mason, “The Dickensian: A Tale of Fifty Years,”Dickensian (1955): 4–12; and Michael Slater, “The Dickensian at Ninety: A Celebration ofthe first Three Editors, 1905–1968,” Dickensian 91 (1995): 165–70. I am also gratefulto Michael Slater, Anthony Burton, and Andrew Sanders for personal insights intotheir time as editors.

2 In the early twentieth century there existed such sub-groups of the Fellowship asthe “Needlework and Charitable Guild,” to help the poor and destitute.

3 Others included Walter Crotch, Percy Fitzgerald, Willoughby Matchett, JohnSuddaby, and, among Americans, William Glyde Wilkins. Ley is best known tomodern scholars for his edition of John Forster’s Life of Charles Dickens (1928).

4 By 1917 the term “cinematograph” was replaced by “cinema.” A heated debateensued in 1918, between filmmaker Eliot Stannard and a group of Dickensians, led byJ. Cuming Walters, concerning whether Dombey and Son should be modernized forthe cinema. See Dickensian 14.5 (1918): 126–8, and Dickensian, 14.6 (1918): 145–52.

5 Most of these notes were published under Hill’s own name, between 1942 and1953. The first instalment (issued using the pseudonym “T. Kent Brumleigh”)concerned Dombey and Son, while the last treated The Old Curiosity Shop. In a 1955panel discussion on the journal, featuring such prominent critics as John Butt andKenneth Fielding, Hill’s notes “called forth no great enthusiasm”; yet virtually all

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modern annotated editions of Dickens’s novels have recourse to Hill for contextualinformation. See “Our Jubilee: Commemorative Meeting at Lincoln’s Inn,” Dickensian(1955): 56.

6 For example, the passages from Dombey and Son were published in Dickensian 49(1952–3): 37–43, 65–8.

7 Morley continued to publish on Dickens and the theatre until 1962.8 This “Centenary Number” offered a chronologically arranged series of essays on

the author’s reputation between 1870 and 1970, with a postscript on Dickens andfilm.

9 The first survey, for 1967, appeared in Dickensian 64 (1968): 178–83; the lastone, for 1980, was published in Dickensian 78 (1982): 42–50.

10 See advertisement in the autumn number of Dickensian 65 (1969).

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