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Bleak House - by Charles Dickens (Unabridged and read by Sean Barrett and Teresa Gallagher)

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Audio Books : Literary : Other quality : English
Unabridged and read by Sean Barrett and Teresa Gallagher.
 35 hours 15 mins duration. 28
CDs. ( 32 kbps / 22 kHz Mono Fraunhofer CBR MP3).

 

Could this
be the greatest novel in the English language? Many would argue it is! 
It's a monster of a book, and that's
not really a reference to the length necessarily (although at 900+ pages, you can't help but be a little daunted). Bleak
House has big plans for you, it wants to grab you and shout at you and whisper at you and tell you ten thousand things
all at once in dozens of different accents. It's a book, really it is, with a mission, and an appropriately large dollop
of missionary zeal.
Dickens was already a household name when he wrote it. He'd already cast his net far and wide
over an increasingly eager audience (Pickwick Papers, Oliver Twist, David Copperfield and Nicholas Nickleby had all
garnered great praise for him, and Martin Chuzzlewit's extensive American episode - after his trip there in 1842 - had
helped his popularity no end in the US). He was world famous. He had also just begun editing the weekly journal
Household Words, a publication he hoped would help highlight the social injustices of the age. Bleak House is confident
and furiously angry in many respects addressing, as it does, much of the same agenda that Household Words railed against
week in week out.
The plot centres on the interminable case of Jarndyce v Jarndyce, a years-old law suit creaking
its way through Chancery (a reference to two cases: Day v Croft, a suit begun in 1838 and still being heard in 1854; and
Jennings v Jennings, begun in 1798 and finally settled in, wait for it, 1878, although, as Dickens says in his Preface,
'if I wanted [more]...I could rain them on these pages, to the shame of a parsimonious public').
"Jarndyce vs.
Jarndyce drones on. This scarecrow of a suit has, in the course of time, become so complicated, that no man alive knows
what it means. The parties to it understand it least; but it has been observed that no two Chancery lawyers can talk
about it for five minutes, without coming to a total disagreement as to all the premises. Innumerable children have been
born into the cause; innumerable young people have married into it; innumerable old people have died out of it. Scores
of persons have deliriously found themselves made parties in Jarndyce and Jarndyce, without knowing how or why; whole
families have inherited legendary hatreds with the suit. The little plaintiff or defendant, who was promised a new
rocking-horse when Jarndyce and Jarndyce should be settled, has grown up, possessed himself of a real horse, and trotted
away into the other world. Fair wards of court have faded into mothers and grand-mothers; a long procession of
Chancellors has come in and gone out; the legion of bills in the suit have been transformed into mere bills of
mortality; there are not three Jarndyces left upon the earth perhaps, since old Tom Jarndyce in despair blew his brains
out at a coffee house in Chancery Lane, but Jarndyce vs. Jarndyce still drags its dreary length before the Court,
perennially hopeless."
Circling this legal colossus is a cast as memorable as any that Dickens assembled
before or after. The demure and impassive Esther Summerson, a resilient young woman carefully uncovering her past; Lord
and Lady Dedlock, landed gentry living in a shadow-filled mansion in rural Lincolnshire; the threatening and
ultra-clever lawyer, Tulkinghorn; Jo, a wretched street boy; and a whole swathe of legal junkies, obsessed acolytes
flitting around the Courts of Chancery and Lincoln's Inn Fields. Every one always mentions the characters in Dickens -
ah! the characters! they say - but then, they're remarkable, and wonderfully realised. But, as the case drags on, things
fall apart and the centre - definitely - cannot hold.
When an affidavit is discovered amid the J v J papers,
written in a sinister and familiar hand, Tulkinghorn's investigations kick off a series of events that lead down a
mazey, dark path towards an unexpected conclusion. The plot becomes ever more labyrinthine and to help us shed some much
needed light on the matter we get Inspector Bucket (great name) one of the earliest detectives in fiction.
All is
division in Bleak House. The Dedlocks and the suit's lawyers on one side, everybody else on the other. When the two
sides meet (weighty social irony in use here) the sparks light up the dark corners of the filthy London streets and
someone invariably comes off worse. This is where the anger creeps in. Creeps in? Nah, floods in. This is where
Dickens's agenda falls into place like a guillotine and you wonder how he ever managed to get on the side of the Toffs
six years later for A Tale of Two Cities:
"Dead, your Majesty. Dead, my lords and gentlemen. Dead,
Right Reverends and Wrong Reverends of every order. Dead, men and women, born with Heavenly compassion in your hearts.
And dying thus around us, every day."
There's humour though, in fact there are plenty of real laugh out
loud moments. The moment when Lord Dedlock discovers that someone has the audacity to stand against him in the election
and that he's - egad! - an 'industrialist', is a splendid attack on the baronet's smug pomposity.  Narrative hops around
from player to player, resting most often on a first-person account by Esther, who is the conscience of the story, but
beyond her everybody gets a focus and story line, and the extended sequence of tying it all together, starting with the
solving of the murder about 150 pages out, heralds a very satisfying series of denouements.
So, is it one of the
best books ever written? I'm not at liberty to say, of course, that's a question I'll have to come back to in my dotage.
Certainly, I can't think of anything to put in the negative column. Dickens is fastidious in his plotting, there's
nothing he leaves unsaid. There's no filler here (an amazing thing to say you might think, but it's true), no dull
chapters, no extensive flowery prose, no muttered 'get on with it' moments. He fulfills his obligations to his social
concerns, he creates sympathy and antipathy where he requires it. The villain, Chancery, gets a roasting ... yet he has
a surprise for everyone at the last.  But, I am smitten with it, yes. I do think it's going to stay with me forever and
- get this - I'm already looking forward to the re-read. I was blown away.  (Al Kitching  - Cambridge, UK) 

 
 
                                                             

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