Our Mutual Friend
By Charles Dickens
The figures in this boat were those of a strong man with ragged grizzled hair and a sun-browned face, and a dark girl of nineteen or twenty, sufficiently like him to be recognizable as his daughter. The girl rowed, pulling a pair of sculls very easily; the man, with the rudder lines slack in his hands, and his hands loose in his waistband, kept an eager look out. He had no net, hook, or line, and he could not be a fisherman; his boat had no cushion for a sitter, no paint, no inscription, no appliance beyond a rusty boathook and a coil of rope, and he could not be a waterman; his boat was too crazy and too small to take in cargo for delivery, and he could not be a lighterman or river-carrier; there was no clue to what he looked for, but he looked for something, with a most intent and searching gaze. The tide, which had turned an hour before, was running down, and his eyes watched every little race and eddy in its broad sweep, as the boat made slight head-way against it, or drove stern foremost before it, according as he directed his daughter by a movement of his head. She watched his face as earnestly as he watched the river. But, in the intensity of her look, there was a touch of dread or horror.
Allied to the bottom of the river rather than the surface, because of the slime and ooze with which it was covered, and its sodden state, this boat and the two figures in it were doing something that they often did and were seeking what they often sought. Half savage as the man showed, with no covering on his matted head, with his brown arms bare to between the elbow and the shoulder, with the loose knot of a looser kerchief lying low on his bare breast in a wilderness of beard and whisker, with such dress as he wore seeming to be made out of the mud that begrimed his boat, still there was a business-like usage in his steady gaze. So with every lithe action of the girl, with every turn of her wrist, perhaps most of all with her look of dread or horror; they were things of usage.
‘Keep her out, Lizzie. Tide runs strong here. Keep her well afore the sweep of it.’
Trusting to the girl’s skill and making no use of the rudder, he eyed the coming tide with an absorbed attention. So the girl eyed him. But, it happened now, that a slant of light from the setting sun glanced into the bottom of the boat, and, touching a rotten stain there which bore some resemblance to the outline of a muffled human form, colored it as though with diluted blood. This caught the girl’s eye, and she shivered.
‘What ails you?’ said the man, immediately aware of it, though so intent on the advancing waters; ‘I see nothing afloat.’
The red light was gone, the shudder was gone, and his gaze, which had come back to the boat for a moment, traveled away again. Wheresoever the strong tide met with an impediment, his gaze paused for an instant.
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Charles Dickens
Charles John Huffam Dickens (7 February 1812 – 9 June 1870) was an English novelist and social critic who created some of the world’s best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era.
Biography.
His works enjoyed unprecedented popularity during his lifetime and, by the 20th century, critics and scholars had recognized him as a literary genius. His novels and short stories are widely read today.
Born in Portsmouth, Dickens left school at the age of 12 to work in a boot-blacking factory when his father John was incarcerated in a debtors’ prison. After three years he returned to school before he began his literary career as a journalist. Dickens edited a weekly journal for 20 years, wrote 15 novels, five novellas, hundreds of short stories and non-fiction articles, lectured and performed readings extensively, was an indefatigable letter writer, and campaigned vigorously for children’s rights, for education, and other social reforms. Dickens’s literary success began with the 1836 serial publication of The Pickwick Papers, a publishing phenomenon—thanks largely to the introduction of the character Sam Weller in the fourth episode—that sparked Pickwick merchandise and spin-offs. Within a few years, Dickens had become an international literary celebrity, famous for his humor, satire, and keen observation of character and society. His novels, most of them published in monthly or weekly installments, pioneered the serial publication of narrative fiction, which became the dominant Victorian mode for novel publication. Cliffhanger’s endings in his serial publications kept readers in suspense.
The installment format allowed Dickens to evaluate his audience’s reaction, and he often modified his plot and character development based on such feedback. For example, when his wife’s chiropodist expressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities, Dickens improved the character with positive features. His plots were carefully constructed and he often wove elements from topical events into his narratives. Masses of the illiterate poor would individually pay a half penny to have each new monthly episode read to them, opening up and inspiring a new class of readers. His 1843 novella A Christmas Carol remains especially popular and continues to inspire adaptations in every creative medium. Oliver Twist and Great Expectations are also frequently adapted and, like many of his novels, evoke images of early Victorian London.
His 1859 novel A Tale of Two Cities (set in London and Paris) is his best-known work of historical fiction. The most celebrity of his era, he undertook, in response to public demand, a series of public reading tours in the later part of his career. The term Dickensian is used to describe something reminiscent of Dickens and his writings, such as poor social or working conditions, or comically repulsive characters.
Charles Dickens
