A Quote by Elizabeth Gilbert

The thing I love about Dickens is the omniscient, omnipotent narrator, and the great confidence of the narrator, which marks 19th-century novelists in general and Dickens in particular.
Once upon a time, novelists of the 19th century, such as Charles Dickens, published in serial form.
The thing about Dickens is you either love him or you hate him and I fell in love with Dickens, I fell in love with his prose style and I decided that I wanted to read the whole Dickens verve during the course of my life.
I think every narrator is an unreliable narrator. In its classic definition - an unreliable narrator is one who reveals something they don't know themselves to be revealing. We all do that.
If someone tells you that George Bush is not the 43rd president of the United States, they might be engaged in wishful thinking, or denial, but if they make that claim, it's either true or false! And you can assess that, regardless of whether there's an omniscient narrator, or an unreliable narrator, or it's shot in vérité, or it's manipulated, it's agitprop, whatever! It makes no difference! It's a style!
Dickens's final book, 'The Mystery of Edwin Drood,' forms the jumping-off point for my new novel, 'The Last Dickens'. This last work by Dickens has very little social commentary and a pretty tightly efficient storyline and cast of characters. Not necessarily what we think of when we think what characterizes Dickens.
There's such a wealth of literature from the 18th century and 19th century, George Eliot... Jane Austen... that's all about a genteel high society, relationships, all of that stuff. There wasn't ever really, apart from Dickens, a literary evocation of working class life.
I'm reading Barnaby Rudge, one of the less well-known Dickens novels. I've been a life-long lover of Charles Dickens ever since I think A Tale of Two Cities was the first Dickens novel I read.
Dickens was a part of how the whole celebration of Christmas as we know it today emerged during the 19th century.
As I've gotten older I've become a devotee of 19th-century authors, such as Charles Dickens and George Eliot.
Great Expectations [book by Charles Dickens] has been described as "Dickens's harshest indictment of society." Which it is. After all, it's about money. About not having enough money; about the fever of the getting of money; about having too much money; about the taint of money.
People say, 'You're like Dickens', but I'm not like Dickens. Zadie Smith is a Dickensian writer because she's writing about society now, just as Dickens was writing about his society.
All Dickens's humour couldn't save Dickens, save him from his overcrowded life, its sordid and neurotic central tragedy and its premature collapse. But Dickens's humour, and all such humour, has saved or at least greatly served the world.
When someone walks in and you say "a six-foot-tall man," you miss the opportunity to describe what a six-foot-tall man would look like to your narrator, because how the narrator describes a six-foot-tall man says more about the narrator than about the man.
The omniscient narrator is a bizarre technique, when you think about it, and no one uses it much anymore. But for the novels I want to write, it's the only approach that makes sense to me.
Capra's great passion was Dickens. As soon as he had some money, he bought some of the rarest and most extraordinary editions of Dickens's work, and he was very proud of his collection.
I can't reasonably pretend to be a transparent and omniscient narrator who brings no personal perspective. That person doesn't exist.
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