The editors, Mamie Dickens and Georgina Hogarth, frame this collection as a supplement to John Forster's biography, aiming to fill gaps in Dickens's correspondence. The letters span 1833 to 1856, beginning just before Pickwick Papers. A notable editorial observation concerns Dickens's dating habits: early letters often carry only the day of the week, while later ones are fully dated—a shift that mirrors his growing professional discipline.

The volume opens with a preface explaining the loss of letters to Dickens's daughter Kate in a fire, which creates a deliberate blank in the family correspondence. This editorial candor sets the tone for a collection that values authenticity over completeness.

Voice and Register Across Two Decades

Dickens's letters show a marked change in register. Early correspondence, such as the note to Macready, employs a fervent, almost boyish admiration: “when I was a mere boy, I was one of your faithful and devoted adherents in the pit.” The language is emotional, with Dickens admitting he “blot[s] this paper with some drops that would certainly not be of ink.” In contrast, letters from the 1850s, like the one to David Roberts, adopt a brisk, managerial tone: “I want you to give a quarter of an hour to the perusal of the enclosed prospectus.” The shift reflects Dickens's transition from aspiring writer to established public figure.

Theatrical Ventures and Collaborative Energy

Several letters detail Dickens's involvement in amateur theatricals. To Roberts, he describes a “new comedy Bulwer has written” and requests a painted scene for a performance at Devonshire House, with the Queen expected. The description of the scene—“Streets of London in the time of George I,” including “Deadman's Lane” and a “mysterious house”—reveals Dickens's eye for atmospheric detail. He coordinates with artists like Edwin Landseer and Louis Haghe, demonstrating his role as a producer. The letter to his wife Kate mentions “no end of trouble” and the Queen appointing April 30, showing the logistical pressures behind these productions.

Personal Glimpses and Editorial Gaps

The preface acknowledges a significant lacuna: no letters to Dickens's daughter Kate survive, as her possessions were destroyed in the 1873 Pantechnicon fire. This loss shapes the collection, making the remaining family letters more precious. In a letter to his wife, Dickens reports on his father's health after surgery—“my father slept well last night, and is as well this morning... so cut and slashed”—offering a rare, unguarded domestic moment. Such passages contrast with the more formal correspondence to public figures, highlighting the range of Dickens's epistolary voice.

Readers approaching this volume should attend to the chronological arrangement, which allows Dickens's changing circumstances and moods to emerge. The letters are best read as a narrative of his professional and personal life, with the understanding that gaps—like the missing Kate correspondence—are part of the story. The editors' decision to include only letters that “explain themselves” means that context is often embedded within the letters themselves, rewarding careful attention.