"Phiz" is a biography about Hablot Knight Browne, an English artist and illustrator. Well-known by his pen name, Phiz, he illustrated books by Charles Dickens, Charles Lever, and Harrison Ainsworth. Excerpt: "Fizz, Whizz, or something of that sort," humorous Tom Hood would say when trying to recall the pseudonym that has since become so familiar using the innumerable works of art to which it was appended. At the time Hablot Knight Browne first used this quaint sobriquet, it was customary to look upon book-illustrators as second, or even third-rate artists—mere hacks..."

Reproduction of the original: Phiz by H.K Browne

'Phiz' - Hablot Knight Browne - was the great illustrator of Dickens' fiction. For over twenty-three years they worked together, and Phiz's drawings brought to life a galaxy of much-loved characters, from Mr Pickwick, Nicholas Nickleby and Mr Micawber, to Little Nell and David Copperfield. But, from the mystery of his birth onwards, Phiz himself led a life as rich as any novel. In this vivid, lively memoir - the first full biography, long-awaited by Victorian scholars - his great-great-granddaughter Valerie Browne Lester tracks the struggles of the abandoned Browne family and follows Phiz's path to marriage and fame, his travels around England and Ireland and work with Dickens, Lever, Trollope and others, and his colourful private life. Based on a mass of unpublished material, this enchanting book, packed with surprising and delicious illustrations, is a perfect present for all who love Dickens and enjoy the hidden byways of Victorian life.

Dickens's Idiomatic Imagination offers an original analysis of how Charles Dickens's use of "low" and "slangular" (his neologism) language allowed him to express and develop his most sophisticated ideas. Using a hybrid of digital (distant) and analogue (close) reading methodologies, Peter J. Capuano considers Dickens's use of bodily idioms—"right-hand man," "shoulder to the wheel," "nose to the grindstone"—against the broader lexical backdrop of the nineteenth century. Dickens was famously drawn to the vernacular language of London's streets, but this book is the first to call attention to how he employed phrases that embody actions, ideas, and social relations for specific narrative and thematic purposes. Focusing on the mid- to late career novels Dombey and Son, David Copperfield, Bleak House, Great Expectations, and Our Mutual Friend, Capuano demonstrates how Dickens came to relish using common idioms in uncommon ways and the possibilities they opened up for artistic expression. Dickens's Idiomatic Imagination establishes a unique framework within the social history of language alteration in nineteenth-century Britain for rethinking Dickens's literary trajectory and its impact on the vocabularies of generations of novelists, critics, and speakers of English.