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and the workhouse - but his fiction was probably all the more powerful in changing public opinion in regard to class inequalities. He often depicted the exploitation and repression of the poor and condemned the public officials and institutions that allowed such abuses to exist. His most strident indictment of this condition is in Hard Times (1854), Dickens's only novel-length treatment of the industrial working class. In that work, he uses both vitriol and satire to illustrate how this marginalised social stratum was termed "Hands" by the factory owners, that is, not really "people" but rather only appendages of the machines that they operated. His writings inspired others, in particular journalists and political figures, to address such problems of class oppression. For example, the prison scenes in Little Dorrit and The Pickwick Papers were prime movers in having the Marshalsea and Fleet Prisons shut down. As Karl Marx said, Dickens, and the other novelists of Victorian England, "..issued to the world more political and social truths than have been uttered by all the professional politicians, publicists and moralists put together..". The exceptional popularity of his novels, even those with socially oppositional themes (Bleak House, 1853; Little Dorrit, 1857; Our Mutual Friend, 1865) underscored not only his almost preternatural ability to create compelling storylines and unforgettable characters, but also insured that the Victorian public confronted issues of social justice that had commonly been ignored.

His fiction, with often vivid descriptions of life in nineteenth-century England, has inaccurately and anachronistically come to globally symbolise Victorian society (1837-1901) as uniformly "Dickensian," when in fact, his novels' time span is from the 1770s to the 1860s. In the decade following his death in 1870, a more intense degree of socially and philosophically pessimistic perspectives invested British fiction; such themes were in contrast to the religious faith that ultimately held together even the bleakest of Dickens's novels. Later Victorian novelists such as Thomas Hardy and George Gissing were influenced by Dickens, but their works display a greater willingness to confront and challenge the Victorian institution of religion. They also portray characters caught up by social forces (primarily via lower-class conditions) but which usually steer them to tragic ends beyond their control.

Novelists continue to be influenced by his books; for example, such disparate current writers as Anne Rice, Tom Wolfe and John Irving evidence direct Dickensian connections. Humorist James Finn Garner even wrote a tongue-in-cheek "politically correct" version of A Christmas Carol.

Although Dickens's life has been the subject of at least two TV miniseries and two famous one-man shows, he has never been the subject of a Hollywood "big screen" biography.

Adaptations of readings

There have been several performances of Dickens readings by Emlyn Williams, Bransby Williams and also Simon Callow in the Mystery of Charles Dickens by Peter Ackroyd.

Museums and festivals

There are museums and festivals celebrating Dickens's life and works in many of the towns with which he was associated.

The Charles Dickens Museum, in Doughty Street, Holborn is the only one of Dickens's London homes to survive. He lived there only two years but in this time wrote The Pickwick Papers, Oliver Twist and Nicholas Nickleby. It contains a major collection of manuscripts, original furniture and memorabilia.

Charles Dickens' Birthplace Museum in Portsmouth is the house in which Dickens was born. It has been re-furnished in the likely style of 1812 and contains Dickens memorabilia.

The Dickens House Museum in Broadstairs is the house of Miss Mary Pearson Strong, the basis for Miss Betsey Trotwood in David Copperfield. It is visible across the bay from the original Bleak House (also a museum until 2005) where David Copperfield was written. The museum contains memorabilia, general Victoriana and some of Dickens's letters. Broadstairs has held