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David Copperfield Nook editionYou can download from the link below.

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David Copperfield, by Charles Dickens, is part of theBarnes & Noble Classics series, which offers quality editiot affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages oarefully crafted extras. Here are some of the remarkable features ofBarnes & Noble Classics:

All editions are beautifully designed and are printed to superior specifications; some include illustrations of historicnterest.Barnes & Noble Classics pulls together a constellation of influences-biographical, historical, and literary-tnrich each reader's understanding of these enduring works.

Dickens's favorite of all his novels,David Copperfieldis the story of a boy who loses both parents at an early age, who escapes the torture of working for his pitiless stepfather to make something of himself and, with any luck, findrue happiness.

David Copperfieldfeatures an unforgettable gallery of characters, including David's cruel stepfather Mr. Murdstonehe unctuous Uriah Heep, the amiable Mr. Micawber, whom Dickens based on his father, and Dora Spenglow, who

David marries and calls his "child-wife." Written in the first person,David Copperfieldis perhaps the mostutobiographical of Dickens's fictions. This new edition includes commentaries, discussion questions, and Phiz'sriginal illustrations.

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eatures the original illustrations by Phiz.

Radhika Jones is the managing editor ofGrand Streetmagazine, a freelance writer, and a Ph.D. candidate in Engnd Comparative Literature at Columbia University. Jones also wrote the introduction and notes for the Barnes &

Noble Classics edition of Charles Dickens's Great Expectations.

About The AuthorRadhika Jones is the managing editor ofGrand Street magazine, a freelance writer, and a Ph.D. candidate English and Comparative Literature at Columbia University. J ones also wrote the introduction and notes for t

Barnes & Noble Classics edition of Charles Dickens's Great Expectations.

Biography

Born on February 7, 1812, Charles Dickens was the second of eight children in a family burdened with financi

troubles. Despite difficult early years, he became the most successful British writer of the Victorian age.

n 1824, young Charles was withdrawn from school and forced to work at a boot-blacking factory when hismprovident father, accompanied by his mother and siblings, was sentenced to three months in a debtor's prison. Onhey 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.

t was the publication of Pickwick Papers (1836-1837) that catapulted the twenty-five-year-old author to nationalenown. 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), andA Christmas Carol (1843) solidified his enormous, ongoing popularity. ADickens matured, his social criticism became increasingly biting, his humor dark, and his view of poverty darker stDavid Copperfield(1849-1850),Bleak House (1852-1853),Hard Times (1854),A Tale of Two Cities (1859), GreaExpectations (1860-1861), andOur Mutual Friend(1864-1865) are the great works of his masterful and prolificeriod.

n 1858 Dickens's twenty-three-year marriage to Catherine Hogarth dissolved when he fell in love with Ellen Ternayoung actress. The last years of his life were filled with intense activity: writing, managing amateur theatricals, anndertaking several reading tours that reinforced the public's favorable view of his work but took an enormous toll is health. Working feverishly to the last, Dickens collapsed and died on June 8, 1870, leaving The Mystery of Edw

Drooduncompleted.

uthor biography from the Barnes & Noble Classics edition ofDavid Copperfield.

ReviewsYoung Copperfield's life is happy at first, but he is forced to run away from home following the arrival of hisstepfather. David is then adopted by his aunt, Betsey Trotwood, sent to school at Canterbury and meets the

unctuous Uriah Heep, whose activities lead eventually to David's self-discovery.

David Copperfield is one of the most incredible novels I've ever come across. Charles Dicken's gift for writingmanuscript is amazing. His use of words are intelligent, and constructed cleverly. If you wish to enjoyably stagger

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our vocabulary, read some remarkable conversations, or find yourself dubstruck at many intricate letters {written bMr. Micawber} this is the book to have. I found it to have interesting characters, an excellent plot, and a captivatiniscourse. I highly recommend this treasure.

Although I have only read two of Dickens's novels, which include this and the Tales of Two Cities, I must say thatDavid Copperfield

as surpassed my expectations and is now perhaps my favorite book. The author's way of communicating humanmotions clearly andffectively has the reader completely hooked and very much in tears in most areas of the novel. Without ruining thovel for you, the storys basically about the life of a very young boy who grows up in a tough and tyrannical childhood. Eventually, hescapes this reality andfinds refuge in his aunt, in hopes of making a new beginning for himself and find true happiness.

Yes, I know the size of this novel seems formidable, but I do assure you that you WILL NOT be disappointed at Ahe characters

hat Dickens brings out to life are truly memorable (my favorite characters are David, obviously, and Mr. Peggotty)o advise if you

can to take notes because if you ever decide to reread this novel, it will be interesting to see how you thought yearsgo.

really enjoyed reading this book, and despite its length, was able to read it fairly quickly. Along with his other novDickens combines his critique of Victorian society, along with a "hero character", who interacts with any eccentricharacters throughout. I found the story very similar to Great Expectations, as David and Pip are very similar in ma

ways. However, at least in my opinion, the novel David Copperfield is more upbeat than Great Expectaions, aslthough David feels somber in the story often, he does not experience the long periods of depression that are typicf Pip. I reccomend to all that like to read, and that are up to more of a challenging book

Read An Excerpt

rom Radhika Jones's Introduction toDavid Copperfield

t is one of the provocative complexities of the Victorian novel that while it was instrumental in creating a mass

udience for literature, making reading a genuinely collective activity, it could still maintain the illusion of personantimacy-if only through such devices as the singular direct address "Dear Reader." Dickens did not only publish hi

work serially, as did most novelists at the time; he actually wrote serially-that is, he composed his novels section byection according to the specifications of the periodical publishing them. This process allowed for changes midstreaometimes in reply to requests or complaints from readers. In David Copperfield, Dickens is known to have reworkhe role of the dwarf manicurist Miss Mowcher, who is introduced as an aider and abettor of young men engaged ineduction, after a letter he received from a woman with whom he had been briefly acquainted, Mrs. Jane Seymour

Hill. Mrs. Hill, a dwarf herself, recognized her appearance in the character and argued that her physical deformitieswere being manipulated into ethical shortcomings. Dickens wrote back to assure her that his characters were alwayomposites and that no harm was meant, but his haste to make amends confirms that at least part of her accusationtruck a chord. When Miss Mowcher reappears in the plot, not only is her reputation cleared, but she voices the ve

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maxim that Mrs. Hill had communicated to Dickens-that one must not confuse disfigurement of the body withisfigurement of the soul.

erial composition also had the potential to bring on the occasional panic attack, for while the public was occupied wondering what would happen to Little Em'ly, the Micawbers, and Tommy Traddles, their creator could conceivabe wondering the same thing. Charles Kent, in his 1872 commemoration of Dickens's public performances, recalls tdmission of one such moment as related by Dickens with "a vivid sense still upon him of mingled enjoyment andismay":

omewhere about the middle of the serial publication ofDavid Copperfield, happening to be out of writing-paper, allied forth one morning to get a fresh supply at the stationer's. He was living then in his favourite haunt, at Fort

House, in Broadstairs. As he was about to enter the stationer's shop, with the intention of buying the needful writinaper, for the purpose of returning home with it, and at once setting to work upon his next number, not one word o

which was yet written, he stood aside for a moment at the threshold to allow a lady to pass in before him. . . . The nnstant he had overheard this strange lady asking the person behind the counter for the new green number. When it anded to her, "Oh, this," said she, "I have read. I want the next one." The next one she was thereupon told would but by the end of the month. "Listening to this, unrecognised," he added, in conclusion, "knowing the purpose for

which I was there, and remembering that not one word of the number she was asking for was yet written, for the firnd only time in my life, I felt-frightened!" (Kent, Charles Dickens as a Reader, pp. 45-46). Many of his novels,articularly the later ones, required meticulously plotting in advance, but David Copperfieldunfolds relatively simp

erhaps because it relied in part on events of Dickens's own experience, with which he was naturally familiar, but aecause its first-person voice dictates a more restricted plot than an omniscient third-person narrator, capable ofxposing connections and coincidences among an extensive web of characters, could provide. In his next novel,Ble

House, Dickens would combine these approaches in two distinct narrative strands; the result is a structurally complework whose denouement links an aristocrat with the lowliest of street-sweepers and touches on every social class inetween. But the world ofDavid Copperfield, with the exception of the scene of David's birth (the facts of which helays on good authority of eyewitnesses), is limited to David's own recollections of events in which he plays a partnd the fabric of society is likewise limited to David's personal acquaintance.

n formDavid Copperfieldis a bildungsroman, a novel that traces the moral and intellectual development of its heis or her progress toward adulthood. (Goethe's Wilhelm Meisterand other Romantic-era German novels are credites giving rise to this tradition, hence the German root bildung, or "formation.") But the question of how such

evelopment is defined-what constitutes growth, so to speak, and how it is measured-differs widely from author touthor and from work to work. In Copperfield, the formation of David's character has far less to do with his acquiriprofession or a fortune than it does with his learning to love responsibly and prudently. The fame and wealth heains by his pen is a pleasant sidebar, but the real struggle in David's plot is reserved for finding a suitable mate.oward this goal, David spends much of his youth making an informal study of female prototypes, a parade of wom

who pass through his life, each with her own lesson to impart. There are the women who fall, giving in to temptatioust, and love over duty. Then there are the women who, often against our expectations, rise to the occasion-Mrs.

Gummidge, who becomes a prop for Mr. Peggotty when tragedy strikes his family, and on a much larger scale, Davreat aunt, the formidable Betsey Trotwood, who sets David on a promising path toward adulthood.

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