The second volume of Dickens's letters opens with a narrative summary of 1857, a year that saw him take possession of Gad's Hill, finish Little Dorrit, and organize benefit performances for Douglas Jerrold. The letters themselves begin with a note to Lord Carlisle from Gravesend, where Dickens stayed to supervise house alterations. This editorial framing—a biographical headnote preceding each year's correspondence—immediately signals that the collection is as much a chronicle of Dickens's activities as a record of his private thoughts.

A Year of Transitions and Public Engagements

The 1857 narrative highlights several key events: the move to Gad's Hill, the death of Douglas Jerrold, and the first public readings of The Christmas Carol that sparked Dickens's later career as a paid performer. The letters from this period, such as those to Lord Carlisle and Hans Christian Andersen, show Dickens managing his literary work alongside theatrical productions and charity events. The editorial notes provide context for each letter, often explaining the circumstances under which it was written—for instance, Dickens's stay at Wate's Hotel to oversee renovations. This blend of personal and professional detail gives readers a sense of the relentless pace of Dickens's life.

Correspondence with Illustrators and Fellow Writers

Letters to Marcus Stone, the illustrator of Our Mutual Friend, reveal Dickens's hands-on approach to book production. In a note from Paris in September 1865, he discusses the frontispiece for the second volume, specifying that it should depict the dustyard with three mounds and Mr. Boffin digging up a bottle. He also mentions the heat and a slight sunstroke, adding a personal touch. To Percy Fitzgerald, he writes warmly about receiving a dog named Sultan, describing the animal's dignified arrival and a humorous incident where Sultan “has only swallowed Bouncer once, and temporarily.” These letters show Dickens as both a meticulous editor and an affectionate friend.

Personal asides and Literary Allusions

Dickens's letters often include playful literary references. In his note to Marcus Stone, he compares his own postscript to the king's love-letter in Ruy Blas: “Madam, there is a high wind. I have shot six wolves.” This self-deprecating humor recurs throughout the volume. To Mrs. Procter, he writes about composing a brief introduction for a book, aiming for “perfect simplicity” and an avoidance of anything that would distress her beloved Adelaide. He offers her the manuscript if she wishes to keep it, demonstrating his generosity. These glimpses into his personal style enrich the reading experience beyond the factual content of the letters.

The Editor's Role in Shaping the Record

The volume is edited by Dickens's sister-in-law Georgina Hogarth and his eldest daughter Mamie Dickens, who provide narrative summaries and occasional footnotes. Their presence is felt in the selection and arrangement of letters, which often emphasize Dickens's family life and his relationships with women correspondents. For instance, a letter to Mrs. Procter shows Dickens's sensitivity to her feelings about the late Adelaide Anne Procter. The editors' choices—such as including the errata list and the detailed account of the Jerrold memorial performances—suggest a desire to present Dickens as a public benefactor and devoted family man. Readers should consider how this editorial lens shapes the portrait of Dickens that emerges.

As you read these letters, pay attention to the interplay between the editorial narratives and the correspondence itself. The headnotes often summarize events that the letters then illuminate from Dickens's perspective, creating a layered account of his later years. Note also the range of correspondents—from famous authors to household staff—and how Dickens adapts his tone accordingly. This volume offers not just a record of one man's life, but a window into the literary and social networks of Victorian England.