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(Mass Market Paperback - Bantam Classics Edition)
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Considered by many to be Charles Dickens's finest novel, Great Expectations traces the growth of the book's narrator, the orphan Philip Pirrip (Pip), from a boy of shallow dreams to a man with depth of character.
Young Phillip Pirrip's life is shaped by an act of kindness which raises him from poverty to wealth. One of the greatest works of classic literature, this novel is a timeless tale of love, hope and humanity.
Mr. Dickens may be reasonably proud of these volumes.... he has written a story that is new, original, powerful and very entertaining.... It is in his best vein, and although it is too slight, and bears many traces of hasty writing, it is quite worthy to stand beside Martin Chuzzlewit and David Copperfield.
More Reviews and RecommendationsCharles Dickens is probably the greatest novelist England ever produced. His innate comic genius and shrewd depictions of Victorian life -- along with his memorable characters -- have made him beloved by readers the world over. In Dickens' books live some of the most repugnant villains in literature, as well as some of the most likeable (and unlikely) heroes.
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July 04, 2009: I gave this book to my nine year old nephew Carter, Who is at a third grade reading level now. I Feel he will gain knowledge by reading this classic story.
There are a number of volumes in this series that give the young reader a way to escape with history.I highly recomend this book to anyone who has youg boys and girls in the houses.I would like to see these books in school libraries!Reader Rating:
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March 25, 2009: This isn't my favorite Charles Dickens novel, but I do love reading him. His satire is intellectually hilarious and he brings his characters to life as no modern writer I know of does. You can picture the era just through the gestures he describes.
Name:
Charles Dickens
Also Known As:
Charles John Huffam Dickens (full name) "Boz" (pen name)
Date of Birth:
February 07, 1812
Place of Birth:
Portsmouth, England
Date of Death
June 18, 1870
Place of Death
Gad's Hill, Kent, England
Education:
Home-schooling; attended Dame School at Chatham briefly and Wellington
Born on February 7, 1812, Charles Dickens was the second of eight children in a family burdened with financial troubles. Despite difficult early years, he became the most successful British writer of the Victorian age.
In 1824, young Charles was withdrawn from school and forced to work at a boot-blacking factory when his improvident father, accompanied by his mother and siblings, was sentenced to three months in a debtor's prison. Once they were released, Charles attended a private school for three years. The young man then became a solicitor's clerk, mastered shorthand, and before long was employed as a Parliamentary reporter. When he was in his early twenties, Dickens began to publish stories and sketches of London life in a variety of periodicals.
It was the publication of Pickwick Papers (1836-1837) that catapulted the twenty-five-year-old author to national renown. Dickens wrote with unequaled speed and often worked on several novels at a time, publishing them first in monthly installments and then as books. His early novels Oliver Twist (1837-1838), Nicholas Nickleby (1838-1839), The Old Curiosity Shop (1840-1841), and A Christmas Carol (1843) solidified his enormous, ongoing popularity. As Dickens matured, his social criticism became increasingly biting, his humor dark, and his view of poverty darker still. David Copperfield (1849-1850), Bleak House (1852-1853), Hard Times (1854), A Tale of Two Cities (1859), Great Expectations (1860-1861), and Our Mutual Friend (1864-1865) are the great works of his masterful and prolific period.
In 1858 Dickens's twenty-three-year marriage to Catherine Hogarth dissolved when he fell in love with Ellen Ternan, a young actress. The last years of his life were filled with intense activity: writing, managing amateur theatricals, and undertaking several reading tours that reinforced the public's favorable view of his work but took an enormous toll on his health. Working feverishly to the last, Dickens collapsed and died on June 8, 1870, leaving The Mystery of Edwin Drood uncompleted.
Author biography from the Barnes & Noble Classics edition of David Copperfield.
Considered by many to be Dickens's greatest work, this is a timeless story where vindictiveness and guilt clash with love and gratitude. Enriched by a cast of unforgettable characters, from the orphan Pip to the convict Magwitch and the bitter Miss Haversham.
Great Expectations follows the life of the orphan, Pip. We first meet him as a tiny, terrified child in a village churchyard. Years later, through the help of an anonymous benefactor, Pip will travel to London, full of expectations to become a gentleman. But his life is already inextricably tangled in a mystery that surrounds a beautiful woman, an embittered recluse, and an ambitious lawyer.
Great Expectations is both a finely crafted novel and an acute examination of Victorian society. Filled with unforgettable settings and characters, it achieves greater dramatic richness through Frank Muller's masterful narration. Dickens supplied two endings to this great work. Both are included in the recording.
Mr. Dickens may be reasonably proud of these volumes.... he has written a story that is new, original, powerful and very entertaining.... It is in his best vein, and although it is too slight, and bears many traces of hasty writing, it is quite worthy to stand beside Martin Chuzzlewit and David Copperfield.
Returning to print after more than a decade, this first volume in the relaunch of the Classics Illustrated series presents a handsomely rendered adaptation of the orphaned Pip's first-person narrative of his journey from humble childhood to adulthood as an English gentleman. Though quite involving, this retelling of the Dickens classic registers as a "fast forward" version of the epic tale of one man's evolution and the hard lessons learned from it, but that aspect is a minor quibble shoved aside by Geary's charmingly cartoony art. Long hailed for his unique work in such diverse showcases as the New York Times, National Lampoon and his exceptional continuing series A Treasury of Victorian Murder, Geary's fleshy characterizations breathe a near-animated life into the classic tale. This pleasant graphic interpretation can serve as an introduction to Dickens for younger readers and perhaps eventually steer them to the wider world of the source material and beyond. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.Great Expectations opens on Christmas Eve. Seven-year-old Pip sits at his parents' tombstones in the marshes. He is set upon by an escaped convict, who demands food and a file; when the convict is recaptured, Pip settles back to life with his sister and her husband. The first great event in Pip's life occurs when he is escorted to the spooky old mansion of Miss Havisham to become the playmate of her ward, Estelle. Miss Havisham still wears her ancient bridal dress, and her decayed bridal cake sits on the table. She makes Pip want to be a gentleman so that he can win Estelle's hand. Soon afterwards a mysterious benefactor swoops in, and Pip is sent to London to be educated. Pip is happy that his dreams are coming truehe will become a gentleman and marry Estelle. Too bad life doesn't work that way. Many graphic adaptations of classics aren't exactly classics themselves, but Great Expectations is an enjoyable read that made me want to read the actual book, so mission accomplished. The story is gripping, with lots of twists and turns. Pip grows as a person, andunlike real lifethe characters get what they deserve. The full-color art is done by Rick Geary, who has worked in the Graphic Classics series. Great Expectations contains depictions of the human condition and is recommended for junior high and high school graphic novel collections, especially those that stockpile graphic adaptations of classics. Reviewer: George Galuschak
Gr 7 Up
A young man's burning desire to fulfill his "great expectations" of fame and fortune is presented in Charles Dickens's classic tale of love, madness, forgiveness, and redemption. Simon Vance's masterful narration brings to life such diverse personalities as Miss Havisham, the old woman who was abandoned on her wedding day and is determined to wreak revenge through her beautiful adopted daughter Estella; Joe, Pip's lumbering and slow-witted, but emotionally wise and faithful friend; the mysterious Magwitch, a convict who turns out to be Pip's financial benefactor; and Pip, the boy who longs for a destiny greater than that of living out his days as a blacksmith's apprentice. The companion ebook features automatic start-up, keyword searching, PDF printable format, and table of contents. An exceptionally skilled rendering of this classic.-Cindy Lombardo, Cleveland Public Library, OH
George Gissing
Observe how finely the narrative is kept in one key. It begins with a mournful impessionthe foggy marshes spreading drearily by the seaward Thamesand throughout recurs this effect of cold and damp and dreariness; in that kind Dickens never did anything so good.... No story in the first person was ever better told.
John Irving
Great Expectations is the first novel I read that made me wish I had written it; it is the novel that made me want to be a novelistspecifically, to move a reader as I was moved then. I believe that Great Expectations has the most wonderful and most perfectly worked-out plot for a novel in the English language; at the same time, it never deviates from its intention to move you to laugher and tears.
Loading...| Introduction | vii | |
| Chronology of Charles Dickens's Life and Work | xv | |
| Historical Context of Great Expectations | xvii | |
| Great Expectations | 1 | |
| The Original Ending of Great Expectations | 599 | |
| Notes | 601 | |
| Interpretive Notes | 614 | |
| Critical Excerpts | 621 | |
| Questions for Discussion | 631 | |
| Suggestions for the Interested Reader | 633 |
Chapter One 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 wasthe 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 dikes 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!"
"Pip. Pip, sir."
"Show us where you live," said the man. "Pint out the place!"
I pointed to where our village lay, on the flat in-shore among the alder-trees and pollards, a mile or more from the church.
The man, after looking at me for a moment, turned me upside down, and emptied my pockets. There was nothing in them but a piece of bread. When the church came to itself -- for he was so sudden and strong that he made it go head over heels before me, and I saw the steeple under my feet -- when the church came to itself, I say, I was seated on a high tombstone, trembling, while he ate the bread ravenously.
"You young dog," said the man, licking his lips, "what fat cheeks you ha' got."
I believe they were fat, though I was at that time undersized, for my years, and not strong.
"Darn me if I couldn't eat 'em," said the man, with a threatening shake of his head, "and if I han't half a mind to't!"
I earnestly expressed my hope that he wouldn't, and held tighter to the tombstone on which he had put me; partly to keep myself upon it; partly to keep myself from crying.
"Now lookee here!" said the man. "Where's your mother?"
"There, sir!" said I.
He started, made a short run, and stopped and looked over his shoulder.
"There, sir!" I timidly explained. "Also Georgiana. That's my mother."
"Oh!" said he, coming back. "And is that your father alonger your mother?"
"Yes, sir," said I; "him, too; late of this parish."
"Ha!" he muttered then, considering. "Who d'ye live with -- supposin' ye're kindly let to live, which I han't made up my mind about?"
"My sister, sir -- Mrs. Joe Gargery -- wife of Joe Gargery, the blacksmith, sir."
"Blacksmith, eh?" said he. And looked down at his leg.
After darkly looking at his leg and at me several times, he came closer to my tombstone, took me by both arms, and tilted me back as far as he could hold me, so that his eyes looked most powerfully down into mine, and mine looked most helplessly up into his.
"Now lookee here," he said, "the question being whether you're to be let to live. You know what a file is?"
"Yes, sir."
"And you know what wittles is?"
"Yes, sir."
After each question he tilted me over a little more, so as to give me a greater sense of helplessness and danger.
"You get me a file." He tilted me again. "And you get me wittles." He tilted me again. "You bring 'em both to me." He tilted me again. "Or I'll have your heart and liver out." He tilted me again.
I was dreadfully frightened, and so giddy that I clung to him with both hands, and said, "If you would kindly please to let me keep upright, sir, perhaps I shouldn't be sick, and perhaps I could attend more."
He gave me a most tremendous dip and roll, so that the church jumped over its own weathercock. Then he held me by the arms in an upright position on the top of the stone, and went on in these fearful terms:
"You bring me, to-morrow morning early, that file and them wittles. You bring the lot to me at that old battery over yonder. You do it, and you never dare to say a word or dare to make a sign concerning your having seen such a person as me, or any person sumever, and you shall be let to live. You fail, or you go from my words in any partickler, no matter how small it is, and your heart and your liver shall be tore out, roasted, and ate. Now, I ain't alone, as you may think I am. There's a young man hid with me, in comparison with which young man I am a angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his door, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep and creep his way to him and tear him open. I am a-keeping that young man from harming of you at the present moment with great difficulty. I find it wery hard to hold that young man off of your inside. Now, what do you say?"
I said that I would get him the file, and I would get him what broken bits of food I could, and I would come to him at the battery, early in the morning.
"Say, Lord strike you dead if you don't!" said the man.
I said so, and he took me down.
"Now," he pursued, "you remember what you've undertook, and you remember that young man, and you get home!"
"Goo-good night, sir," I faltered.
"Much of that!" said he, glancing about him over the cold wet flat. "I wish I was a frog. Or a eel!"
At the same time, he hugged his shuddering body in both his arms -- clasping himself, as if to hold himself together -- and limped towards the low church wall. As I saw him go, picking his way among the nettles, and among the brambles that bound the green mounds, he looked in my young eyes as if he were eluding the hands of the dead people, stretching up cautiously out of their graves to get a twist upon his ankle and pull him in.
When he came to the low church wall, he got over it like a man whose legs were numbed and stiff, and then turned round to look for me. When I saw him turning, I set my face towards home, and made the best use of my legs. But presently I looked over my shoulder, and saw him going on again towards the river, still hugging himself in both arms, and picking his way with his sore feet among the great stones dropped into the marshes here and there for stepping-places when the rains were heavy, or the tide was in.
The marshes were just a long black horizontal line then, as I stopped to look after him; and the river was just another horizontal line, not nearly so broad nor yet so black; and the sky was just a row of long angry red lines and dense black lines intermixed. On the edge of the river I could faintly make out the only two black things in all the prospect that seemed to be standing upright; one of these was the beacon by which the sailors steered -- like an unhooped cask upon a pole -- an ugly thing when you were near it; the other a gibbet, with some chains hanging to it which had once held a pirate. The man was limping on towards this latter, as if he were the pirate come to life, and come down, and going back to hook himself up again. It gave me a terrible turn when I thought so, and as I saw the cattle lifting their heads to gaze after him, I wondered whether they thought so, too. I looked all round for the horrible young man, and could see no signs of him. But now I was frightened again, and ran home without stopping.\
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