Ratings5
Average rating3.6
From A to Z, the Penguin Drop Caps series collects 26 unique hardcovers—featuring cover art by type superstar Jessica Hische It all begins with a letter. Fall in love with Penguin Drop Caps, a new series of twenty-six collectible and gift-worthy hardcover editions, each with a type cover showcasing a gorgeously illustrated letter of the alphabet by superstar type designer Jessica Hische, whose work has appeared everywhere from Tiffany & Co. to Wes Anderson's film Moonrise Kingdom to Penguin's own bestsellers Committed and Rules of Civility. A collaboration between Jessica Hische and Penguin Art Director Paul Buckley, the series design encompasses foil-stamped paper-over-board cases in a rainbow-hued spectrum across all twenty-six book spines and a decorative stain on all three paper edges. Penguin Drop Caps debuts with an “A” for Jane Austen’s Pride and Prejudice, a “B” for Charlotte Brontë’s Jane Eyre, and a “C” for Willa Cather’s My Ántonia, and continues with more classics from Penguin. D is for Dickens. The orphan Pip is destined to become a blacksmith like his brother-in-law Joe. But when Pip meets the beautiful Estella Havisham, he yearns for a gentleman’s education in order to woo her. A mysterious legacy answers his ambition, and changes the course of his life, taking him far from the Marshes of youth—far, so he thinks, from his early terrifying encounter with an escaped convict, and his sister’s class resentments. In this fictional autobiography, Pip’s coming-of-age story becomes representative of the changing social landscape of nineteenth-century England. As Pip’s education provides upward social mobility, he must also learn hard lessons about self-delusion and forgiveness, love and loss, and the true nature of his Great Expectations.
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Perhaps I need to be more forgiving reading historical fiction in the modern day, but Jesus, how many coincidences? Every single character introduced turned out to be related to another character from an entirely separate section of the plot. Apparently this was a big convention of the day (I know Dickens employs this in Oliver Twist, and similarly Bronte with Jane Eyre - “oh, these ENTIRELY RANDOM STRANGERS are actually my LONG LOST COUSINS!”) but it leaves me cold.
The writing is stunning, though. A bit overly-flowery at times, making the slower sections a trudge, but when he gets it right, Dickens nails it. As he does with the characterisation. Do you ever hate a self-promoting ass as much as you do Pumblechook? Or love a simpleton as you do Joe Gargery? Genius.