Public reader discussion about Bleak House in the WeRead Catalog by Charles Dickens.
By readerhappy
I’ve read a bunch of them, and the one I keep coming back to is A Tale of Two Cities. The way it’s written really grabs me, and I like how it ends too. :) And I guess I’m not really trying to do London again—I’m not knocking it, I just want something different.
By plasmaarch20
If you’re grabbing the free ebook promos on Amazon, don’t click the “Read for Free” option. I think you’re supposed to use “Buy Now” when it shows $0.00 for the Kindle price, because “Read for Free” seems tied to Kindle Unlimited, which you have to pay for.
By sungonal
Honestly, wow—I'm kind of at a loss for words. It took me a while to get into this one, I’ll admit that right away. It’s not Mann’s most easy or most likable book, but that’s exactly what makes it feel so special. Since it’s one of his last major works, you can really tell how much more grown-up and developed his writing got by then. It kind of reminds me of Bleak House too, where you can feel the authors hitting their stride around the same time they’re writing those books. The tricky part is the actual reading—sometimes the writing is pretty hard to follow. There’s also a lot of classical music theory worked in throughout, basically as a metaphor for Germany sliding toward proto-fascism. I can see how that could totally throw people off, but if you’re willing to do a little research as you go, you can probably keep up without it messing up the whole experience. I think you end up with a pretty clear sense of what Mann is trying to “say,” even if it doesn’t make it effortless. Adrian Leverkuhn is memorable, and his whole life feels like it’s mirroring Germany’s mindset in the early 1900s. His genius is maddening, but it’s also self-destructive. And his attitude swings between serious doubt, this quiet, stoic kind of thinking, and then these really dark, heavy depressions. Then there’s Serenus Zeitblom, the narrator, who Mann clearly takes super seriously. Leverkuhn’s best friend, he’s constantly worried about him, hovering around as much as possible. To me, Zeitblom also feels like Mann’s stand-in in a way—following along with what’s happening in Germany, caring about how things go at home, and mourning the loss once Germany turns into Hitler’s brutal, self-destructive regime. Have you read it? What did you think?
By azure9
Has anyone read this and can tell me which narrator is best to pick? My library has versions with Vance, Case, and Barret/Gallagher, so I’m not sure who to go with. Thanks!
By hidden-panda1987
I’m reading *Bleak House* right now, and I’m stuck on a part of chapter 28. Mr. Rouncewell is asking Sir Leicester and Lady Deadlock for permission to let one of their maids, Rosa, get an education because he wants her to marry his son. Leicester shuts it down pretty firmly and says the village school is enough. What I can’t quite figure out is: 1) Would it even be normal for a workman’s son to try to marry someone with more schooling at this time? 2) Is there a huge difference between what she’d learn in the village school vs elsewhere? Like what would be missing? 3) It feels like Leicester isn’t just being practical—he seems worried about servants “moving out of their place.” But then… is there really much difference in “station” between a maid and the wife of a workman? Also, was it common back then for the people in the big house to have this much control over their servants’ personal lives? When I read Victorian stuff with servants (or later like Christie and Sayers), it usually feels like a straightforward employer/employee setup—housing and wages, basically. But here the Deadlocks seem almost like Rosa’s guardians, and Rouncewell goes to them instead of talking to Rosa directly.
By redFeather
Not sure who George Truitt is, but I’m curious how he fits into the story.
By InkNight
I’m rereading Bleak House right now, and it’s still one of my all-time favorites. I keep running into people saying they don’t like Esther, and that she feels unreal or way too perfect. I can see the argument for some of Dickens’s other women—sometimes they don’t feel super rounded—but I don’t feel that way about Esther at all. She feels believable to me, and her trying so hard to do everything right and be a people pleaser just comes off like it’s tied to what she went through as a kid. She really wants love, but she still struggles to actually believe she’s getting it, even when it’s pretty obvious. Anyone else really love her?
By coffee-chilly74
Thanks, sir… thanks. They’ll have to get the key to the gate first, ’cause it’s always locked, and there’s that step there too that I used to clean with my broom. It’s gotten so dark, though—are we getting any light soon? “It’s coming fast, Jo.” Fast. The cart is getting knocked to pieces on this rough road, and I can feel we’re right at the end of it. “Jo, my poor fellow!” “I can’t see much, but I’m feeling around—let me grab your hand.” “Jo, can you say what I say?” “I’ll say whatever you say, sir. I know it’s the right thing.” “Our Father.” “Our Father! Yep, that sounds good.” “Which art in heaven.” “Is the light coming, sir?” “It’s right there—Hallowed be thy name!” “Hallowed be—thy—” Then the light finally hits the dark way… and that’s it. He’s dead. Dead, your Majesty. Dead, everyone. Dead—right here—dead, dead…
By SummerKey
About a year ago I picked up *Bleak House* (Dickens, obviously). I’ve read a decent amount of Dickens already, but I figured now was the time to finally dig into what people usually call his biggest one. For some reason I decided to read it the way it came out, like a few chapters a month. Some months are only 4, and the last month—sometime this September—will be 8. Has anyone else tried doing it that way? Also, kind of by accident, March is when the first parts originally came out in 1852, so I basically ended up starting at the same point in the year as the original readers. If anyone’s thinking about it, I’d say start now if you can. A year later and I’m just finishing up chapter 42 out of 67. A couple thoughts: - I wasn’t sure I’d like the stop-and-go thing, but honestly it’s been fine. I don’t mind fitting it in at the expense of other reading, and I also don’t feel bad putting it down again. - It’s funny, though—I’ll be “reading” but at the same time I’m not, for a lot of the time. It feels a little like cheating somehow? Like, who am I cheating and what’s the whole point. - Keeping track of characters and plot threads is sometimes tough. My brain is very short-term and modern, so if a minor character hasn’t shown up for a month or two, I’ll need a minute to remember who they are and what they were doing. I’ve been letting it wash over me until it clicks, and so far that’s worked. - Even though I’m enjoying it, sometimes it feels like I’m building up an obligation. Like, “okay, it’s the 4th… did I read my *Bleak House* chapters yet?” And once I’m done, I mostly feel like I checked something off, not like I just got lost in the story. I do enjoy it while I’m actually reading it, though. Overall it’s been pretty cool, and I’ll probably do the same kind of thing with *Nicholas Nickleby* whenever I get to it.
By cosmic2002
I was checking Abebooks and it looks like there are other copies listed for anywhere from about $100 to $400. On eBay I only see two sold listings and both ended up around $200 (just a little under). Not 100% sure, but that’s what I’m seeing. I’d also make sure the one-volume copy is actually complete and that all the illustrations are there, just to be safe.
By paperbackmarket2003
I’m dealing with a lawsuit right now, and I tried joking to my lawyer that my case was moving as fast as “Jardynce and Jardynce.” She totally didn’t get it, and I felt awful about that. Is it just me, or should *Bleak House*—and all that well-known lawsuit—be part of law school discussions at least? Even a mention would be nice.
By paper_volume
Ugh, Bleak Sunday again 😩 but I actually feel like stuff is starting to click a bit as we move into this next chunk. We get introduced to Krook’s place and, of course, the whole “mysterious tenant” situation—No One/Nemo/Nimrod, and he’s basically dead from opium, whether it was his own doing or not. Then there’s that young surgeon who seems tied to the opium, and he pops up again later at the Badger party and at Miss Flite’s too. And Jo the sweep is one of the only people who really knows him… but his testimony gets brushed off like it doesn’t matter. Which is just frustrating, because it feels like Jo’s the one person who’d be able to tell something true. Maybe also Lady Dedlock, since she’s now kind of tangled up with Mr. Tulkinghorn, and it gives that whole “who knows what” vibe. Also, Kenge/Guppy and Esther stuff is going on, and I’m still not totally sure what the bigger picture is with the money being passed to Miss Flite—supposedly from Chancery. It’s just one more thread that feels like it’s going to snap together with the others later. I’m especially torn on a couple things: - The society “dandy” section: it’s kind of wild how people who think they’re refined are basically exposed for what they are. Does that make me feel more for the crusading ladies? Maybe, but I’m not fully there yet. - And the jumping around between locations—London/Chancery, then Chesney Wold, then back to Bleak House. It adds a lot of variety, but it’s also hard to keep track of what’s “important” versus what’s just showing the world doing its thing. For Q4/Q5 vibes: Richard and Ada’s situation is coming out more officially, and John Jarndyce basically gives this warning that feels kinda sad but also like… maybe it’s for a reason. Richard mentioning the Chancery payment makes me think he’s hoping for something that might not happen. Then there’s Caddy Jellyby, who’s secretly set up with Prince Turveydrop, trying to turn herself into the “good wife/daughter-in-law” type, even though she’s clearly still dealing with being used by her parents. I can’t tell who’s got it tougher—Richard/Ada or Caddy/Turveydrop. They both feel like they’re fighting circumstances way bigger than them. Also, Krook naming Miss Flite’s birds—what was that? Like foreshadowing? Just creepy symbolism? The names felt… off, for sure. And the little detail about Krook being “under the influence of raw gin” just made him even more gross and unpredictable, if that’s even possible.
By DeepWind
Bleak House, chapters 24–28 — welcome back to Bleak Sundays. It’s snowing where I am and the polar vortex is getting ready to roll in 😬 so honestly I’m grateful for books to hide behind. Also, I can’t stop thinking about how much this feels like it’s pulling teeth out of everybody. A few questions I’m stuck on: - Can John Jarndyce really just order Rick and Ada to break things off? And when is Ada gonna get more of a personality? The “time apart” idea makes me wonder if it matches the whole Wat and Rosa wanting space before they’re engaged. - Mr Bucket is totally acting like he’s a doctor, and then there’s suddenly a warrant—so what did Tulkinghorn actually want from Gridley? And yeah, that court business ended up killing him, which is… a lot. - What did Guppy think would happen when Rachael and Esther finally met? Richard seems way more wrapped up in the case now too. - Tulkinghorn, Bucket, Chadband… they all have their own motives, and I did laugh at Mrs Snagsby jumping to the wrong conclusion about Jo just because her husband is nice to him. Has your opinion on anyone changed? I kind of like Mr George more because he’s not just folding under Tulkinghorn’s pressure. And I’m curious what people think about the Bagnets and Mrs Bagnet—do they feel different from the other wives/families? Also poor cousin Volumnia, I can’t tell what her deal is yet. Do you think Mr George will get consequences for not handing Tulkinghorn the paper? And I’m still wondering about Captain Hawdon—any theories? I also made character webs for Esther and Tulkinghorn by chapter 27. And I forgot to connect the Bagnets to Mr George and Volumnia to the Dedlocks. Next week: January 16th for chapters 29–33.
By green-marble
Over the last few months I realized I’ve kind of stopped reading just for fun. I’ve still made it through a few things in bits and pieces—Gatsby, The Hobbit—but this is going to be my first real “big” book in a while, and I’m starting with Bleak House. I’m honestly really into Dickens’s style. The only thing is, I’ve been struggling to stay focused while I’m reading lately, so I’m not sure how I’m going to do with this one—any tips?
By brookGolden
I guess I need to start a support group for parents of Dickens super-fans, because what just happened to us feels a little weird. My 6-year-old can read pretty well and she really likes Matilda (Roald Dahl). In that book, Matilda is reading Great Expectations, so naturally my daughter got curious. I wanted to encourage her, so I bought one of those cute Dickens box sets where everything is “retold” and shortened for kids around 7–9 (no way she’d stick with the real versions). She reads Great Expectations and she’s like, yeah, it’s fine. Then she picks up Bleak House and something actually switches on in her brain. Since then, she won’t read the rest of the set—or anything else, really. She just keeps going back to Bleak House again and again. I’ve never read Bleak House, so I didn’t even know what was in it, but it turns out it’s this whole thing with a legal mess, an illegitimate daughter, and a murder mystery. I truly have no clue why that one grabbed her so hard. Now we’re stuck watching literary analysis videos on YouTube, and she keeps asking me to read the “real” Bleak House because she wants the longer version. Bedtimes are going to be… something… for a while. Honestly, I don’t have much more to say except it’s kind of fun how kids can latch onto the strangest random books and just run with it.
By basil1976
I’m only about a third of the way into *Bleak House* and I already hit a couple spots where Dickens uses the word “female.” It really rubbed me the wrong way and I found it kind of offensive, so I noticed it right away. I haven’t seen “male” used in the same way, though. Does anyone know if using “female” like this was normal for the time, or is it just something Dickens does? I thought “female” wasn’t really meant to be used as a noun the way he seems to here, but maybe I’m reading it wrong. Also, it might just be my edition, but I haven’t found much discussion about it. A quick search made it seem like people often criticize Dickens’s portrayal of women, so now I’m wondering if this kind of wording is part of that.
By drizzleproud
I’ve been watching them on YouTube and they’re really gorgeous. I ended up buying myself a Collector’s Edition of *The Tempest* from the Globe Theatre gift shop in London after seeing the RSC perform there, and I honestly loved it. I’m already thinking I’ll try to grab more on future trips. They’re pricey, but they seem like the kind of thing you actually get your money’s worth on.
By jartiny2002
I listened to the audiobook last year and really liked it, so I picked up the book and I’m reading it again now. I’ve already gotten through almost 100 pages in 2 days. It’s just so good. I’ve read or listened to a bunch of other Dickens books over the last year or so and liked some more than others, but I still can’t really get into Great Expectations lol.
By mukluk
I just finished Bleak House and jotted down a few thoughts on it, and honestly I thought it was amazing. Really glad I read it. It feels like a novel about people living in their own era, and what that era does to them. The weight of bad luck and misery hangs over everything, and the title fits so well. It starts with Chancery Court and the endless Jarndyce and Jarndyce mess, this case that just sits there poisoning everyone around it. The case itself almost doesn’t matter so much as what it stands for: society, with its cold, indifferent machinery. The book is really about the people caught up in that system, and it’s written with so much sadness and care. Like the Jarndyce case, the whole thing is kind of held together by Esther Summerson, who isn’t actually part of the case, and by the mysterious Lady Dedlock. Those two feel like the center of everything, and all the other threads sort of loop back to them. Esther is this plain, decent girl who’s been told she’s her mother’s disgrace, even though she barely knows anything about her mother. Her childhood is basically one long lesson in being a burden, so all she really wants is some love and a place where she belongs. Lady Dedlock, on the other hand, is this elegant high-born woman, the darling of fashionable society, and she carries the book’s big secret. Around them are all these characters from every level of life, all tangled together, and it honestly feels like Dickens is just pulling apart society to show all the different kinds of people inside it. What stood out to me most is that this is really a book about people, and it’s written so well. The prose has this dark, mossy feel to it, slow in places but still alive and bright in a weird way, matching the characters perfectly. You get Esther moving into Bleak House with John Jarndyce and the wards, Ada and Richard. You get the faded aristocracy with the Dedlocks, the misery of Tom-All-Alone’s through Jo and Jenny, and the deadened routine of Chancery through Tulkinghorn and the lawyers. It all feels like people trapped inside this huge web, and the book keeps showing how they either try to move through it or get crushed by it. Lady Dedlock’s mystery and Esther’s story drive a lot of it, but the characters are really what hold it together. Reading it sometimes felt like looking through a window and checking in on all these lives for a bit. Even with all the big dramatic stuff, it still feels very human. Dickens’ people always feel real to me, even when he jumps from funny to serious to blunt to melodramatic. I also really liked how the narration shifts between Esther’s first-person voice and the more omniscient chapters about the Dedlocks and everyone else. The two styles are very different, but both are beautiful and sad in their own way, and basically always handled really well. Esther comes off as strong and almost too pure, always trying not to dwell on grief or herself. But there’s still a lot of feeling under that, and it slips through sometimes. Her worries, her sadness about her face after the smallpox, all of that gives her more depth than she first seems to have. Under all her effort to stay cheerful and proper, there’s something very human there. And then the omniscient parts are just incredible. There are so many passages that are beautifully done, sometimes even funny in this quiet way, but mostly just adding to the sadness of everything. Those chapters that frame Lady Dedlock, London, England, and the whole time they live in are full of atmosphere, like a dark landscape painting. They make the society itself feel bleak, but not exactly evil — more just ruled by duty and habit. The big tragedies here, especially Lady Dedlock and Jarndyce and Jarndyce, would probably be much less devastating in a healthier world. Lady Dedlock was the most interesting character for me. She feels so layered, and her secret ties into the whole idea of structural oppression really well. Her fall, and the way she gives herself up to the time she lives in, feels like the core of the book’s dark worldview: fate almost seems fixed, not chosen. Esther’s hope, though, and her chance at something better and at least a little love, ends up being the hopeful counterweight to Lady Dedlock’s fate. That’s probably the one real light in the book. It’s all about people stuck in a broken present, where the rich live off the past and the poor suffer in the now. Social rank decides everything, and the misery isn’t really punishment, just the way things are. The book makes it clear that change is hard, and that the only real chance at happiness is refusing to accept the way things are. Esther and John Jarndyce do that, and they come out better for it. Jo, who is probably the most helpless person in the whole book, gets pushed out by society and dies because of how uncaring it is, but even then he’s still surrounded by some kindness at the end. Bleak House feels like a book about people living in a doomed time. The comfort in it is that change isn’t impossible, just slow. Little by little, things can shift. If you can’t fully shape your own life, maybe you can at least make it a bit kinder for the next generation. Lady Dedlock dies in all that bleakness so Esther can maybe have something better, and Bleak House itself changes from a place tied to all that doom into something quieter and more hopeful. The change is slow, but it’s not frozen. It’s such an exquisitely written book, huge but never really wandering off. The plotting is so careful, with fate and circumstance tying everyone together like some sad opera built out of ordinary life. There are scenes I keep thinking about: Lady Dedlock’s portrait at Chesney Wold, Leicester at the mausoleum on horseback, Bucket out in the snow working the case, Richard coughing blood, Jo and Gridley and Miss Flite’s poor birds. It really is an experience. Sad, big, and built out of small everyday things. At the center of it all is people, and even when they’re strange or different, they still feel relatable in the most basic way. To me it’s a book about things passing on in sadness, and a little hope growing for a less bleak tomorrow.
By looseFig4990
I’ve been craving books that hit me emotionally, but not like, in a good way. The first thing that pops into my head is *No Longer Human*—it’s kind of my default “depressing” read. Dennis Cooper is another one for me, especially *I Wished*; that one really messed me up. I’m basically looking for something that leaves me feeling kind of hollow. I’m down for older classics or newer stuff, but I’d rather find some less-known titles. I’ve enjoyed reading too much lately, so I want to throw myself into something that feels totally hopeless.