• Transatlantic Dickens; or, Travels Through Nineteenth-Century Book History in America
• David Bordelon (bio)

"I was as fond as ever of reading, and somehow I managed to combine baby and book. Dickens's 'Old Curiosity Shop' was just then coming out in a Philadelphia weekly paper, and I read it with the baby playing at my feet, or lying across my lap."¹ Recalling her babysitting days in 1840s America, millworker-turned-writer Lucy Larcom, in her A New England Girlhood, presents a charming picture of domestic bliss. While her memoir is a well-mined source for labor, cultural, and feminist scholars, for printculture scholars, this short passage both reveals and raises questions about nineteenth-century reading and publishing. Larcom's multitasking—"baby and book"—provides evidence that reading was not solely the province of the leisure class. Indeed, a central theme of Girlhood is the rich intellectual life of Larcom and her fellow workers. For those interested in transatlantic publishing, the quote is both revelatory and opaque. On the one hand, it establishes that the works of Charles Dickens were republished in newsprint in the Philadelphia area in the 1840s, a practice which indicates his popularity. On the other hand, she does not include the name of the paper, so scholars are left searching archives for the text. Her combination of specificity—"Old Curiosity Shop"—and generalization—"a Philadelphia weekly paper"—illustrates a central problem for nineteenth-century transnational bibliographic scholars: identifying specific printings of particular texts.

For most native-born American writers, this identification entails a quick survey of an authoritative bibliography. But for Dickens and other nineteenth-century foreign writers published in America, the process is not so simple. Due to the absence of copyright laws protecting foreign texts, the answer to a seemingly basic question such as "How many editions of The Old Curiosity Shop were published in the United States?" is difficult to discern, leading to omissions in Dickens' bibliographies, which in turn misrepresent the circulation of his texts in the United States.² [End Page 99]

The main problem is that his works were not sold in one form or by one publisher. The bibliographical essay in the authoritative Clarendon edition of Curiosity Shop lists an "1841: Philadelphia edition" by Lea and Blanchard³ and Walter E. Smith's Charles Dickens: A Bibliography Of His First American Editions 1836–1870 adds an 1841 New York edition published by William H. Colyer to the list.⁴ Yet both neglect a separate Philadelphia edition published in the same year by J. Harding.⁵ Because of this missing information, readers of the "standard" scholarly edition of Dickens (Brennan) and a more recent and comprehensive review of American editions (Smith) are given an incomplete picture of the novel's initial circulation in America. And neither is any help for determining the text Larcom read while watching her niece: both are silent on the serial printing of Dickens in American magazines and newspapers. Yet from the Pennsylvania Inquirer and Daily Courier where Larcom could have found Curiosity Shop, to later appearances of Bleak House in Frederick Douglass' Paper, newspaper readers could follow the adventures of Little Nell, Esther Summerson, and many other Dickens characters. And these gaps in scholarship extend to extra-textual versions of his novels such as dramatizations, readings—or the raft of material culture such as "Dickens Collars" and other associated Dickensiana.

Primarily descriptive and separated broadly into two sections, textual and non-textual, this essay seeks to fill these gaps. The first section examines the print distribution of Dickens in book and periodical form in America, providing a detailed description of the nineteenth-century print trade and publication of his work and its role in shaping their development. Since most of Dickens's novels were commonly adapted into plays or character readings, this section concludes with an examination of the range and shape of these dramatic productions. The second section explores Dickens's role as a real-life "extra-textual" in America. From illustrations of particular characters—or their creator—to advertising and games, the material culture of Dickensiana fills the period.

Stanislas Dehanae argues in Reading in the Brain that reading serves an explicitly...

• 跨大西洋的狄更斯；或者，穿越美国的19世纪图书历史
• 大卫·博德隆（生物）

“我像以前一样喜欢读书，并设法将婴儿和书本结合起来。狄更斯的'旧好奇商店'当时是在费城的每周报纸上问世的，我是在婴儿脚下玩耍的时候阅读它的，或者躺在我的腿上。” ¹回忆起1840年代美国的保姆生活，由米尔沃特（Murworker）转变为作家的露西·拉姆（Lucy Larcom）在她的《新英格兰少女时代》中，展现了家庭幸福的迷人景象。虽然她的回忆录是劳工，文化和女权主义学者的绝妙来源，但对于印刷文化学者而言，这段简短的短文却揭示并提出了有关19世纪阅读和出版的问题。Larcom的“婴儿和书籍”多任务处理功能提供了证据，证明阅读不只是休闲课的一部分。的确，是Larcom和她的同事们丰富的知识生活。对于那些对跨大西洋出版感兴趣的人，报价既具启发性又不透明。一方面，它确定了查尔斯·狄更斯的作品于1840年代在费城地区的新闻纸上重新出版，这表明他的受欢迎程度。另一方面，她没有提供论文的名称，因此留给学者们寻找档案的内容。她的专一性（“古玩商店”）和概括性的“费城周报”相结合，为19世纪的跨国书目学者指出了一个中心问题：确定特定文本的特定印刷品。

对于大多数美国本土出生的作家而言，这种识别需要对权威书目进行快速调查。但是对于狄更斯和其他在美国出版的19世纪外国作家而言，这一过程并不那么简单。由于缺乏保护外国文字的版权法，对一个看似基本的问题（例如“美国发行了多少版《古玩店》？”）的答案。很难辨别，导致狄更斯书目中的遗漏，反过来又歪曲了他的著作在美国的流传。² [结束第99页]

主要的问题是他的作品没有以一种形式或一位出版商出售。权威的Clarendon版《好奇商店》中的参考书目文章列出了Lea和Blanchard ³和Walter E. Smith的Charles Dickens：《他的第一个美国版书目》（1836–1870年）的“ 1841：费城版”，并添加了1841年的纽约版William H. Colyer进入列表。⁴然而，他们俩都忽略了J. Harding于同年出版的单独的费城版。⁵由于缺少这些信息，狄更斯的“标准”学术版（布伦南）的读者以及美国版的更近期，更全面的评论（史密斯）的读者对这部小说在美国的最初发行情况并不了解。而且，确定拉姆在看侄女时阅读的文字也无济于事：双方都对狄更斯在美国杂志和报纸上的连载印刷保持沉默。然而从宾夕法尼亚探询者和每日信使（Larcom可以在其中找到古玩店）到后来出现在弗雷德里克·道格拉斯（Frederick Douglass）的《荒凉屋》（Bleak House）中，报纸读者可以关注Little Nell，Esther Summerson和其他许多狄更斯角色的冒险经历。这些学术鸿沟延伸到他的小说的非文本版本，例如戏剧化，阅读，或物质文化的泛滥，例如“狄更斯的衣领”和其他狄更斯安娜。

本文主要是描述性的，大致分为文本和非文本两部分，旨在填补这些空白。第一部分研究了狄更斯在美国的书籍和期刊的印刷发行，详细描述了19世纪的印刷贸易和他的著作的出版​​及其在塑造狄更斯的发展中的作用。由于狄更斯的大多数小说通常都被改编成戏剧或角色读物，因此本节以对这些戏剧作品的范围和形状的考察作为结束。第二部分探讨狄更斯在美国作为现实生活中“超文本”的角色。从特定角色的插图（或它们的创造者）到广告和游戏，狄更斯的物质文化充满了整个时代。

斯坦尼斯拉斯·德哈纳（Stanislas Dehanae）在《大脑中的阅读》中指出，阅读明确地服务于...