Lucinda Hawksley (7:48)

Well, John Dickens had a good job as a clerk. However, he could never live within his means. And from a very young age, Charles and his older sister Frances, known in the family as Fanny, who would go on to become a professional musician, they were sent out in the local pubs. So as little children, Charles and Francis would be taken to the pub by their dad. He'd put them on the table and they'd dance and sing and, you know, like buskers really, that you might see around the city today. And they would go and, you know, go into the pub and hope to earn a bit of money for the family. But this was money that was really needed.

Narrator (8:21)

The Navy requires John and his family to move to London in 1822, but the increased living costs there are not reflected in his pay. Elizabeth does her best to help out opening a school despite no qualifications or prior experience. But it fails to attract any paying pupils and soon folds. And at Charles new school, the master is a bully and the experience is miserable compared to the education he enjoyed in Kent. So precarious are the family finances that he soon has to leave school anyway to take a job in a factory or labeling bottles of distinctive polish called blacking. 10 hours a day, 6 days a week for just 6 or 7 shillings. Pay this at a time when a loaf of bread might set you back a good part of a shilling. Then, in early 1824, when Charles has just turned 12, his father is arrested for his debts, it seems like he'll never escape the factory, an experience made all the worse by the fact that that he's forced to work beside a large picture window where he can be viewed by passersby.

Lucinda Hawksley (9:29)

Victorians, or Georgians as they were then, liked to see children working in a bit like this child is close to God because he's working hard. So it was a deep humiliation for young Charles Dickens to have been taken out of school, to be set to work in a rather publicly humiliating environment with people watching him as they went past. So from a very young age, Charles Dickens suffered from possibly childhood depression, definitely stress induced illnesses. He'd get a lot of pains in his stomach and his back, and this seems to have been caused by stress.

Narrator (10:03)

After a few months, John is released from the Marshalsea. When he comes into an inheritance, Dickens hopes that he'll now be able to quit the factory. His mother, though, needs the money. With six children already, the youngest of whom is just two, she's terrified of returning to the prison.

Lucinda Hawksley (10:20)

In his unfinished autobiography, he wrote that he never would forget and he never could forget that his mother had been, as he put it, warm for sending him back to that place, which was the blacking factory. She had wanted him to stay working because, not surprisingly, she had lived with tiny children in a rat infested prison cell. And suddenly she was expected to go back out and trust her husband yet again.

Narrator (10:50)

While John will in due course be immortalized in the character of the endearingly optimistic Mr. McCorber in David Copperfield, always convinced that something will turn up, his mother is never depicted with similar empathy. Eventually, Dickens does leave the factory and returns to school, but his father's profligacy continues. And in 1827, when Dickens is 15, the family are evicted from their home. Now Dickens leaves education for good and finds work as a clerk at a firm in Gray's Inn, in the heart of legal London. Witnessing the legal profession close up, Dickens discovers a system that is slow moving and seemingly more motivated by lining the pockets of lawyers than securing justice for all. Despite developing a cynical disregard for the law, he makes good use of his time at the firm, educating himself in shorthand, which opens a new door for him. His maternal uncle has recently established a newspaper called the Mirror of Parliament, and he needs journalists. Dickens sets himself up as a freelance court reporter. Assured that he will have steady work, he turns out to be rather good at the job and builds a roster of clients.

Lucinda Hawksley (12:06)

He also had this incredible energy, this wonderful zest for life, and he would just set off all over the country from anywhere, from kind of Exeter up to Scotland, and he would travel around, get the copy and go back to London as fast as he could, writing his copy in carriages, writing his copy at great speed. This was what Dickens loved doing this competition to be the first back and break the story.

Narrator (12:33)

His ultimate dream, though, is to be an actor, an ambition no doubt triggered by his theatrical family. In early 1832, it looks like he might get his big break when he secures an audition at the Covent Garden Theatre. On the day, though, he is stricken with a heavy cold and doesn't attend. But as one creative pursuit drops away, another is gaining momentum. One evening in 1833, he makes his way to Johnson's Court, where the offices of a small circulation magazine called Monthly are to be found. He takes a deep breath and drops a short story he has written through the letterbox. A few weeks later, he picks up a copy of the magazine from a shop on the Strand. To his utter joy, he finds his work inside. Though the story appears anonymously, he can now call himself a published author. He provides another eight of these so called sketches of everyday life for no fee, but they go down well with critics and readers alike. It is a start. The following year, he takes a job as a parliamentary reporter for the Morning Chronicle. But it is not long before he is asked to write a series of fictionalized sketches again on the theme of everyday life. He adopts the pseudonym Boz, a family nickname for his younger brother Augustus, and is soon producing them for the Evening chronicle, too. In February 1836, his pieces are collected into a single volume entitled Sketches by Boz, with distinctive illustrations by George Cruikshank. It is an instant hit, a breath of fresh air in a literary landscape that tends to be obsessed with the lives of the aristocracy.

Lucinda Hawksley (14:23)

And what Dickens did was a little bit like observational comedy. Today. He would look at a scenario, or perhaps a person. He was at one wonderful observer of people and places and atmosphere, and he would write about it and then people, you know, were thinking, why has he written this about this lower middle class person? But yet it's so real. What is it that makes this readable? I don't know what it is, but it works.

Narrator (14:48)

His star is on the rise. And there are developments in his personal life, too. Dickens had fallen in love for the first time when he was a callow 17 year old. She was a glamorous banker's daughter, two years his senior and in every way his social superior. Though Dickens sent her impassioned letters, there's no evidence that she reciprocated his feelings.

Lucinda Hawksley (15:12)

Her name was Maria Beadnell and she became this kind of almost like a talisman of the unattainable. When she was 21, he told her that he loved her and she called him a boy, which, if you've read Great Expectations, you'll know that that's what Estella calls Pip when she wants to put him down. And so he was quite heartbroken at a young age.

Narrator (15:34)

But around now, he is introduced to Catherine Hogarth, his editor's daughter, though Catherine takes a while to warm to him. Just over a year later, they marry in Chelsea's spectacular St. Luke's Church. This new chapter coincides with the publication of of Dickens new work, the Pickwick Papers, a series of loosely linked adventures connected by the central joyous figure of Samuel Pickwick. Published in 20 monthly installments, it keeps readers waiting with bated breath for each new chapter, creating a pattern that Dickens will repeat throughout his career.

Lucinda Hawksley (16:13)

All of his major novels were serialized, a bit like a soap opera on tv. So people were left on a cliffhanger. Every week or every month the latest instalment would come out and they would be waiting eagerly for the next chapter. And it wasn't that Dickens wrote these books and then serialized them. He had that deadline every week or every month alongside everything else he did, which was a huge amount of extra work on top of his novel writing. So every time the new Dickens installment came out, you knew there was going to be this incredible cliffhanger at the end that was going to keep you guessing.

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Narrator (18:09)

this is a paid advertisement from Indeed. If you're a small business, the right hire can be make or break Hoping the right people see your job posting isn't the best growth strategy. When the pressure's on and you need the right hire. This is a job for Sponsored Jobs. Indeed Sponsored Jobs gets you quality candidates when you need them most. Sponsored Jobs boosts your job post in search results so you can reach the people that help your business thrive. Plus, with Indeed Sponsored Jobs, you only pay for results. Spend less time searching and more time actually interviewing candidates who check all your boxes. Less stress, less time, more results when you need the right person to cut through the chaos. This is a job for Indeed Sponsored Jobs and listeners of this show will get a $75 sponsored job credit to help get your job the premium status it deserves@ Indeed.com podcast just go to Indeed.com podcast right now and support our show by saying you heard about Indeed on this podcast. Indeed.com podcast terms and conditions apply. Hiring this is a job for Indeed sponsored jobs. In January 1837, Catherine gives birth to their first child, John. Shortly afterwards, and accompanied by Catherine's younger sister, Mary, the family moves to a new place in upmarket Bloomsbury. But a few months later, tragedy strikes. Dickens, Catherine and Mary return from a night at the theatre watching an operetta that Dickens has co written. Mary takes herself to bed, but then cries are heard from her room. She is found dead, a victim of an inherent heart complaint. At just 17, both Charles and Catherine are devastated. Catherine, already pregnant, again, miscarries, and Charles falls into a depression. Yet despite all this personal turmoil, his writing career goes from strength to strength. He follows up Pickwick with Oliver Twist, which appears between 1837 and 1839, depicting London and its underbelly like never before. Drawing on his personal experiences of poverty, Dickens creates a host of characters not merely memorable, but destined to become cultural touchstones, from Oliver himself to Fagin, Bill Sykes and Nancy.

Lucinda Hawksley (20:27)

It's very interesting to me how Dickens had such an empathy for the poor and he really understood what it was like to be poor. He never ever forgot what it was like to be a poor child. And he wasn't one of those people that when he made it big, he kind of forgot his roots. He never really admitted to them. Very few people ever knew about his impoverished childhood, but he always empathized and he spent much of his adult life she trying to improve the lot of those who were poor.

Narrator (20:55)

Even Queen Victoria reads it against the advice of her Prime Minister, Lord Melbourne, who fears she isn't ready for its gritty subject matter. In fact, she notes in her diary that she finds it riveting. By now, Dickens is well on the way to the financial security he craves. It is a good thing too, because he already has three children and there will be another seven, all of whom make it to adulthood, apart from the 9th, Dora, who dies aged just eight months after suffering convulsions. But even as he builds an independent life with his wife and young family, he remains close to his parents and siblings, whom he'll support financially for years to come. Oliver Twist is followed in quick succession by Nicholas Nickleby and the Old Curiosity Shop with its beloved young heroine, Little Nell. By now, Dickens is a household name in England. While he continues to produce his journalism at a prodigious rate, it is as a fiction writer that he is most valued. Proof of his international superstar status comes when a ship carrying the latest installment of the Old Curiosity Shop steams into New York's docks. There have been worries that Nell is to be killed off in this new chapter and crowds have gathered at the dockside seeking news of her fate. They stand reading together and when they learn she is indeed dead, there is a bout of collective weeping elsewhere. The Irish politician Daniel o' Connell is said to have flung the offending section of text from a train window, shouting, he should not have killed her.

Lucinda Hawksley (22:41)

Very quickly. Within a couple of years, he went from being a fairly well known journalist to being not just a nationally but an internationally famous novelist. When the word celebrity came into the Oxford English Dictionary, it was 1851 and Charles Dickens was one of the first people to whom it was applied. There was almost no precedent. You'd had stage stars who'd become famous, but then they probably wouldn't be known around the world like Dickens. And from, from very, very early on, Dickens's works are being translated into other languages, Russian, French, Croatian. And that was in the 1830s and shortly after being written. And of course the British Empire helped because the English speaking language had been spread across the world.

Narrator (23:25)

But the books don't merely engage the emotions. They deal with serious social issues, with poverty, domestic abuse and illegitimacy. When Dickens addresses abuse in the private boarding school system in Nicholas Nickleby, newspapers follow up on the concerns raised and as a result, several real life institutions are closed. His writing is capable of effecting real change. And when it comes to research, he doesn't shy away from the horror. It's just before 8am on the 6th of July 1840. Dickens rose hours ago to come from Bloomsbury up Snow Hill towards London's notorious Newgate Prison. He now stands amid a crowd of maybe 30,000 people who fill the wide streets around the prison in the shadow of the Old Bailey, London's famous court. Just visible over the sea of heads is the wooden gallows. On a raised platform jutting out from the jail walls, workmen are still hammering away to make the cross beam secure. But despite the deadly serious occasion, there's a buzz about the place. A constant thrum of chatter and laughter. Rarely has the writer heard accents from all classes of society in such close proximity. Street peddlers tout their drinks and snacks and Dickens spots several pickpockets too deftly dipping for purses and watches prostitutes mill around advertising their business. And every now and again, whole sections of the crowd burst into raucous song. But Dickens doesn't join in the merriment. It makes him uneasy, because the performance this crowd is gathered to see is the hanging of a Belgian man, Francois Courvoisier, a servant convicted of murdering his employer. Dickens has come on impulse as much to people watch as to spectate an execution. He wants to understand what draws them to such a macabre spectacle, sure that such occasions serve no good purpose for anyone. Eventually, the chatter starts to subside. It's nearly time. The church bells of St Sepulchre without Newgate announce 8 o' clock and all attention turns to the gallows. The onlookers surge forward. The slight figure of the prisoner emerges from a gate in the prison walls, guards in front and behind him. Dressed in the new suit, he nervously clasps and unclasps his bound hands. There are shouts of recognition and a wave of excitement rolls through the crowd. Dickens cannot take his eyes off the man as he ascends the gallows, where a black hood followed by a noose is placed over his head. A clergyman reads the word of God and Then, mere seconds later, the deed is done. The crowd falls silent for a moment, save for a collective intake of breath and a few horrified shrieks. Dickens spots a young child quiver, unprepared for the horror her parents have exposed her to. Slowly, the mass of people begins to disperse. But the depraved excitement, the drunkenness and levity, the debauchery, and most of all, the absence of empathetic sorrow lingers with Dickens and sits heavily on his heart. He explores some of the rights and wrongs of capital punishment in his next novel, Martin Chuzzlewit. Over the coming years, he writes a series of letters to the press on the subject, triggering widespread debate.

Lucinda Hawksley (27:14)

So Dickens social campaigning was absolutely his passion. It wasn't just something he did because it made for a good plot twist. He started out as a campaigning journalist. He continued to write journalism right to the end of his career, and many of those articles were really hard hitting social campaigning work. He often said that he wasn't always the first person to know about something, that he would really try to publicize it.

Narrator (27:42)

As well as taking up causes in his books and articles, he is also a prodigious letter writer, personally advocating for individuals in need. Since the 1830s, he has been a close friend of Angela Burdett Coutts too, the fabulously wealthy heiress granddaughter of Thomas Coutts of the famous banking dynasty. Together she and Charles spearhead many charitable projects, including a home for homeless women in Shepherd's Bush in West London. He's also a driving force for fundraising for Great Ormond Street, London's proposed hospital for sick children, a cause close to his heart after the loss of his own beloved baby Dora. But he knows that to carry on his good works, he must keep his shoulder to the literary wheel.

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Narrator (30:00)

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Lucinda Hawksley (31:58)

He was overdrawn at the bank and this was an absolutely terrifying thing for him. He was so frightened of ending up like his father and his children, ending up in the same position he'd been in.

Narrator (32:09)

Salvation, however, comes in short order. In December 1843, he publishes the first of what will become a series of five Christmas themed novellas. But this first one A Christmas Carol shines brightest, restoring his fortunes and helping to redefine the institution of the British Christmas. He is back, more popular than ever. Over the next couple of years, he takes his family for extended stays abroad, in Italy and Switzerland, intent on recharging and finding new inspiration, a ball of fizzing energy. He becomes editor of two new periodicals, the Daily News and Household Words. More importantly, his novels are hitting the mark again. First, Dombey and Son, then David Copperfield, his most autobiographical work. Next, Bleak House and Hard Times. And though the first chapters of his next book, Little Dorrit, are maligned by critics, the story still overshadows even the stellar success of his previous serials. Any lingering concerns about his finances or his enduring popularity are put firmly aside. The year also sees a different sort of personal triumph. When he was a boy living in Kent, Dickens would often gaze with his father at a spectacular property called Gad's Hill, set in acres of land, an estate mentioned in Shakespeare's Henry iv, no less. John Dickens would say to his young son that if he worked hard and made something of himself, Gad's Hill might one day be his. And this year Dickens buys it for the princely sum of 1,790 pounds, equivalent to about 25 years salary of a skilled craftsman. Behind the scenes, however, all is not well in the Dickens home. Already disillusioned with his marriage, out of the blue he hears from his old flame, Maria Beadnock. She tells him in a series of letters that she is changed from the youthful beauty he once knew herself having married and had children. But he assures her he does not believe it for a moment.

Lucinda Hawksley (34:26)

He said she would always be beautiful and then he met her and realized that it was true. He wrote one of the cruelest lines, I think when he said Flora, because he based Flora Finching in Little Dorrit on her. Flora, who had once been a lily, was now a peony, which peonies are beautiful flowers, but if you think of the shape of one is what he was really saying.

Narrator (34:47)

Catherine must have been relieved, her husband having been so openly flirting with his unrequited first love. But the cracks in their marriage grow.

Lucinda Hawksley (34:56)

I think they both became very lonely within the marriage and Dickens fell out of love with Catherine. Sadly, I don't believe she fell out of love with him. And that was the real tragedy in their marriage. But so within 15 years she was pregnant 12 times and gave birth 10 times and miscarried twice. And every time she had a baby, she suffered a great deal in the birth Quite understandably, she wanted a comfortable middle class existence with a husband who took care of her and her children. And instead she got a celebrity who was courted by people from all over the world. And of course, with every pregnancy, Catherine put on weight. And Charles Dickens became very mean about that. He couldn't understand why Catherine was continually pregnant. He thought it was her fault. He described it once as that uninteresting condition and that Catherine's perpetually getting herself pregnant.

Narrator (35:49)

Events take a decisive turn in August of 1857. Dickens, who has never quite rid himself of his theatrical itch, is in Manchester preparing to put on a production of the Frozen Deep, a play by his old friend, the author Wilkie Collins. He is at a reading for new cast members. Among them is a small, graceful 18 year old called Ellen Ternan. He immediately takes a shine to her and despite the 27 year age difference, within weeks, they are lovers. It's not a secret for long. After ordering a bracelet for Ellen at his usual jewelers, a miscommunication sees the piece delivered to Catherine at the family home. Catherine's heartbroken, but Dickens response is one of anger. He puts pressure on his wife to make a social call on Ellen in the hope of crushing any rumors of infidelity before they start. The genie, however, is out of the bottle.

Lucinda Hawksley (36:47)

Ellen was the same age as the younger of his two daughters, so it was a very, very horrible situation for the whole family. And really then Dickens became really unpleasant to live with. He was nasty not only to Catherine, but to so many people in his life. He fell out with most of his friends, his great friend John Forster and his friend Wilkie Collins, the novelist. They pretty much stuck by him. But he fell out with almost everybody else who'd been important in his life. And many of his female friends were appalled. They were so shocked by the way he treated Catherine.

Narrator (37:24)

It is the beginning of the end for the Dickens marriage. In 1858, they agree to a legal separation. For Catherine, it is a devastating blow, not least because Dickens, with the law on his side, keeps their children from her. Their relationship has for several years been marked by Dickens cruelty. And now he twists the knife, suggesting that she drinks too much and is not a fit mother. But it need not have come to this.

Lucinda Hawksley (37:53)

Most Victorian men had affairs. They had a girlfriend who was known as a mistress and they would often live between two residences and people just turned a blind eye to it. Couples who didn't get on often. They could afford to have a place in the country and a place in London and they would spend time it each without each other. So they might say, my wife is in the country for her health. Or he could have said, my wife is in London for the season and I need to be in the country to write. They could have managed it like that and Catherine wouldn't have lost her social position. You'll still hear people today say she was an alcoholic. No, she wasn't. It was just a rumor that was begun because they had to blame someone and they couldn't blame Dickens. So poor Catherine, in addition to losing her home, losing her position in society and barely seeing her children until they were adults and could choose to come and see her themselves, she was kind of derided as this, this terrible wife, this terrible mother and an alcoholic.

Narrator (38:47)

If all this were not enough, Catherine's younger sister Georgina, who had lived in the household for many years and was regarded as a second mother to the children, stays with Dickens. It causes a great rift in Catherine's side of the family, who cut ties with her. But as an unmarried, childless woman in her 30s, she has seemingly calculated that staying with the famous author gives her better prospects than siding with her sister. Of all the key figures in the Dickens marriage breakup, it is Ellen who reaps the most obvious benefit.

Lucinda Hawksley (39:23)

He was, as a sensible young woman, would have realized at that time, her meal ticket. I mean, she was a young actress. Her reviews for acting weren't great. Her family were worried that she wasn't going to be able to make a career on the stage. She made a very intelligent business decision to be in a relationship with Charles Dickens. He supported her and her family financially, and one can completely understand Ellen Ternan's position.

Narrator (39:48)

Catherine lives in London for the sad remainder of her life, having narrowly dodged an attempt by Dickens to have her admitted to an asylum. As she lies on her deathbed in 1879, she asks for her husband's letters, written in happier days, to be given to the British Museum in the hope that history would judge her more kindly than Dickens has latterly encouraged. In the meantime, life rolls on for Dickens in this new setup. In May 1859, he begins a new periodical all the year round. It begins in sensational style with the serialization of his latest novel, A Tale of Two Cities, a high octane story set in London and Paris before and during the French Revolution. It is widely suspected that Ellen Ternan is the inspiration for its young heroine, Lucy Manette. It is followed a year later by Great Expectations, a devastating masterpiece of social commentary on themes including class, poverty, law, abuse and the triumph of love. Over tragedy as ever, Dickens magics up instantly memorable characters who immediately seep into the wider culture. Figures like the spectral Ms. Havisham, jilted long ago at the altar and seeing out her days wearing her now ragged wedding dress. Whatever personal angst envelops him, Dickens creative output seems irrepressible. But a new terrible shock awaits him. It is Friday 9th June 1865. A few minutes after three in the afternoon. Charles Dickens is in a first class carriage on the Folkestone to London train. Ellen is with him, as is her mother. They are returning from a holiday in France. Dickens leans back, content but weary, as the train speeds along at 50 miles an hour. In his luggage is the recently completed manuscript of his latest novel, Our Mutual Friend. He gazes out of the window as the small village station of Headcorn in Kent flashes past. But then, a little further up the line, he glimpses a man standing at the trackside frantically waving a red flag. The driver slams on the brakes and blows the engine's whistle as the train screeches along the rails. A group of workers are undertaking repairs on the bridge over the river, built at Staplehurst, just a little further on. But the chief engineer has misread the timetable. He is not expecting a train to pass along here for another two hours. The train slows, but not quickly enough to avert catastrophe. The locomotive, guards, van and two carriages, including the one in which Dickens sits, make it across the gap in the tracks on the bridge. But the next six carriages are not so lucky. They career off the track 10ft down to the water below with an enormous crash. Dickens has been thrown from his seat. But though he's dazed, he's uninjured and a cool headed practicality overtakes him. Edging away from the end of his carriage that overhangs the precipice, he delicately prizes open a window and sets about getting his two companions out. Only when they are safely outside does he begin to take in the carnage around him. As the smoke clears, there's a deathly silence, only occasionally broken by the cries of the injured scrabbling along the track and down over the stricken carriages. He joins other survivors in looking for casualties and freeing them from the wreckage. He has to catch his breath as he is confronted by all manner of terrifying injuries. To those well enough, he offers a slug of brandy from the flask in his pocket. For others, he fills his hat with water from the river so that they can have their wounds washed. He realizes there are people still trapped up above in the carriages. That did not derail. Approaching a guard who is frantically rushing around, he persuades him to hand over his keys. Then, after scrambling back up the bridge, he moves from door to door, unlocking them so that those trapped inside can breathe fresh air again. Dickens stays to tend to those down below. For the next several hours, he acts efficiently, but he barely knows what he is doing, his own thoughts and emotions buried deep, while others are in more immediate need. Of a hundred or so people on board, 10 die and another 49 are injured. After what feels like an age, a train arrives with an emergency relief of doctors rushed from London. Dickens useful work is done. But before he goes, he remembers his manuscript of Our Mutual Friend, which he retrieves from his carriage. Removed from the immediate crisis, Dickens begins to feel the trauma. He's barely able to speak for two weeks and his handwriting shakes as he relates his experiences in letters to friends in the years to come. Railway travel, which he is unable to avoid entirely, fills him with dread. In truth, he suffers with what we would now recognize as post traumatic stress and his health begins a permanent downturn. Dickens counts himself among the lucky ones, but survival comes at a cost.

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Narrator (46:57)

Why wait? Ask your doctor, visit botoxchronicmigraine.com or call 1-844-BOTOX to learn more. In 1867, aged 55, Dickens embarks on another tour of North America, bigger and better than his first one 25 years ago. It's a marathon. Some 400 engagements in six months, for which he earns £19,000, over a million pounds today. His star status has never been higher.

Lucinda Hawksley (47:27)

People would kind of follow him down the street trying to cut off locks of his hair. He just was so famous. He was mobbed. It's been compared to when the Beatles visited America and he just was incredibly famous.

Narrator (47:42)

Crowds flocked to his performances, which are more than mere readings. Stood at a wood and crimson velvet lectern of his own design, he assumes his characters voices inhabits their very beings. The murder of Nancy and Oliver Twist is a particular tour de force, one that takes such a physical toll that his children fear it might kill him. Not everyone is a fan, though. A certain Mark Twain is in the audience in New York and he declares how the great do tumble from their high pedestals when we see them in common human flesh. The tour takes it out of Dickens. He had wanted to bring Ellen with him, but his friends convinced him that the American public were not ready for such scandal. Her absence pains him. He is only in his mid-50s, but since the rail crash he has aged quickly and suffers from many aches and ailments. Moreover, memories of the accident make the necessary rail travel across the continent a torture and his daily diet is hardly what the doctor ordered. As a rule he takes a tumbler of cream with rum at 7am, a sherry cobbler and a biscuit at midday, a pint of champagne at three, a glass of sherry with a beaten egg just before eight, and for supper, some soup and whatever he can find to drink. Back in England, Dickens may be ailing, but he refuses to let up. In October 1869, he begins work on a crime novel, the Mystery of Edwin Drood, its atmosphere dripping with menace and melancholia. The next summer, 58 year old Charles Dickens is at his desk in the Swiss style chalet he has had built in the garden at Gad's Hill. It is five years to the day since the Staplehurst rail crash. He is working on chapter 23 of Edwin Drood, the anticipated halfway mark of the book. Roughly when he begins to feel unwell. He makes it back to the main house, but his condition is deteriorating. It is a little after six o' clock in the evening. Georgina is there and chats with him, but she can see he is struggling. Come and lie down, she tells him. Yes, he responds. On the ground. And with that he claps his unconscious. He has a massive stroke, never to regain consciousness, and dies the next day, leaving his last novel incomplete. He had wished to be buried in Rochester Cathedral, where a plot had already been prepared. But on hearing of his passing, Queen Victoria has other ideas. She insists he is laid to rest. In Westminster Abbey's Poet's Corner. A private ceremony is held with just 14 mourners, in accordance with Dickens wishes. The family are adamant that it should be a small personal affair. His seven surviving and now grown up children are represented, and there are a few close personal friends, including Wilkie Collins. The Times newspaper, however, reports only 13 attendees, delicately overlooking the presence of Ellen Ternan, his secret lover of 13 years and the chief beneficiary of his will. His grave is left open for the next two days and thousands come to pay their respects on his orders. His gravestone bears the simplest of inscriptions, just his name and dates. Not even an Esquire. A writer for the ages. His ability to conjure up unforgettable characters, weave exciting narratives and depict a world of complex social interactions has had an incalculable influence on the novelists that followed him. Never out of print for the best part of two centuries, his total sales are at least in the hundreds of millions. A Tale of Two Cities is believed to be the best selling English language novel of all time alone, racking up sales in excess of 200 million. And when in 2015, the BBC polled to find the 25 greatest British novels of all time, three of the top eight were his. Yet perhaps his greatest legacy is not his literature at all, but the fact that he continues to be a driver for social change 150 years after his death.

Lucinda Hawksley (52:14)

I think we should consider Dickens's incredible achievement to be the fact that he still keeps poverty on the agenda even today. You can guarantee that pretty much every December, somebody will write in a newspaper around the world. You know, Dickens wrote about this in 1843 and we still have child poverty with us today. That, to me, is one of his enduring legacies. Also the fact that he just wrote such incredible stories that people still want to adapt to them. There's constantly new Dickens adaptations, and through that, that keeps his social campaigning on the agenda. Because every time somebody does a new version of whatever Dickens novel or novella it might be, it brings the issues back up again. And that is amazing.

Narrator (53:06)

Next time on Short History of. We'll bring you a short history of the abolition of the British slave trade. There were a large number of important people who got a lot of money from slavery. There were a large number of people

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who felt that abolishing slavery would have adverse social effects in all sorts of ways, and this is very true among the upper classes. One of the things which is remarkable about abolitionists is that it was from

Lucinda Hawksley (53:31)

the start a mass based political movement. It attracted all sorts of people, people

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who weren't part of the political nation at all, who very quickly came to see this as a massive area of social reform. I think we can hardly underestimate just how big it was in the 1780s. So in many ways abolitionism should have

Narrator (53:51)

succeeded quite early on. In the late 1780s, early 1790s, the

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mood and the public was ready for it.

Narrator (53:58)

That's next time.

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