Starting with Oliver’s premature birth to a dying mother looked on by a gin-swilling nurse in a parish workhouse, Dickens tone is extremely satirical. Though his meanings are clear, his craftsmanship with the English language is in rare form in the beginning of Oliver Twist. The “distinguished and enlightened gentlemen” who’s reform policies for the workhouse are raked over the coals in glowing language represent an unusual type of Dickens character for me. Usually even Dicken’s villains are multi-faceted characters whose motives we understand though disapprove of. Here, the Directors of the parish who eventually pay to get rid of Oliver, are difficult to conceive of. The hardships of the workhouse inmates, more especially what seems like intentional starvation, seem hard to believe though as I read this book, the death of a foster child in New Jersey from starvation brought to light many things going on in twenty-first century reality which had seemed implausible in this nineteenth century novel. The satirical language is often humorous though the subject matter is not and makes the account more palatable. The first of the book is spent in this way which seems really to be more of Dicken’s social commentary than pure story line.
In true Dickens style, each of the characters Oliver meets throughout the story are part of a larger, more elaborate plot line that the story is ever trying to unfold. After being apprenticed to the coffinmaker Mr. Sowerberry, he is taunted by the charity boy – Noah Claypole – until he makes a break for London. Accidentally falling into the clutches of local fence Fagin whose aim it is to turn him to a life of crime, Oliver struggles to break free with the help of various good hearted people he befriends along the way despite his situation. It is only through their help who believe in him against all odds that we find that Fagin’s attempts to make Oliver into a thief or at least believe that he has broken the law is not entirely the result of chance. As a shadowy figure going by the name of Monks attempts to remove proofs of Oliver’s origins, it is up to his new friends to piece together the puzzle of Oliver’s life and help him to break free once and for all from the poverty of his existence.
The Essay on What Makes a Story American Literature?
There is no rules or guidelines to classify certain stories as American Literature. So, what makes a story American Literature? “Rip Van Winkle,” by Washington Irving, is a profound short story and an example of American Literature. “Rip Van Winkle” is about a man who falls asleep for several years. He finally wakes up and he sees that the places around him have changed tremendously. When he ...
Until Oliver’s friends get involved, I wasn’t entirely grabbed by the story line but I don’t know if that was from my inability to connect with the workhouse characters or my familiarity with the early part of the story. Once they got involved and I was into a part of the story I knew nothing about, I did really get into it. Like A Tale of Two Cities, I would say that this one starts a little slow but takes off towards the middle. Unlike that novel, however, its lacks the profound nobility, with some characters having little value except as a vehicle in the commentary (like Mr. Bumble).
The Tale of Two Cities was not an out and out social commentary (it was hidden well within the folds of the pages) but I would have to say that Twist is. It is a good story, well worth reading, but its lasting value is not in the character of the orphan Oliver – it is in the passion of the author against the wrongs of the then welfare system. It seems more to me to be a moralism: a tale to remind us of ourselves and to guard against the mistakes of the past and to ensure the lives of the vulnerable in the future.
