This novel is utterly incomprehensible plotwise. And tonewise. Boy can you tell that Dickens had no idea what the ending would be when he started writing it, considering the main Plot Twist sort of contradicts the beginning chapter. The fact that this book was so horrifically antisemitic that Dickens had to change future chapters while writing them is definitely a chapter in literary history of all time. Fascinating as a type of social commentary for its time. Nancy is compelling. Oliver is just so pathetic one cannot not root for him. Occasionally, such as in the section with Mr. and Mrs. Bumble fighting, this novel is also deeply hilarious. Overall, I have no idea how to sum this novel up, but it was definitely novels of all time. Also the musical might actually be more comprehensible with plot. Sorry to people who like Dickens but I am not the same. Thank you for listening to my Dickens Opinions; tune in next week for more, worse opinions.

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Incredibile come sia riuscita ad affezionarmi alla banda di Fagin e non a personaggi quali Rose, Oliver, il signor Brownlow.
Io un po’ Monks lo comprendo; cresci con un padre a cui non importa né di te né di tua madre, scopri che ha avuto una storia da cui è nato un altro figlio nonché tuo fratello... Insomma, son batoste.
Dickens è un maestro nel passare da smielate descrizioni quali “mostrerei Rose Mayle in tutto il fiore e la grazia della prima femminilità nell’atto di versare nel suo cantuccio di vita una molle e soave luce che toccava quanti l’avvicinavano e si rifletteva nei loro cuori.” (non commento), alla brutale descrizione della morte di un personaggio: “Un cane [...] rovesciandosi per aria completamente sul dorso, cadde nel fossato; e picchiando la testa su un sasso, si fracassò il cranio.”, ripeto: brutale.
Esemplare, toccante, disturbante il capitolo sulla fine di Fagin, mi ha ricordato (penso non a caso) L’ultimo giorno di un condannato di Hugo, spero l’intento fosse lo stesso.

I enjoyed this reread, probably more than previously. It's not my favourite Dickens but it has some fantastic moments.

Oliver Twist by Charles Dickens is a wonderful classic fiction novel. The child as a protagonist was something which appealed to me for me to pick up this read, and the narration doesn't disappoint. The journey the character's life takes from its inception till the story ends is mesmerizing. The picture painted of an orphan kid in Victorian-era England is vivid, along with detailed mentions of the status difference among various social classes of the time, and the various atrocities that follow.

The book is dark throughout. The happy ending is a much-needed relief. I am generally not an advocate of impractical happy endings, but Dickens' pure genius can be explained from the fact that even I was craving for a happy end to Oliver's fate - he makes you want it more-and-more as the story progresses. The satire employed in the narration is like icing on the cake.

I haven't watched the movie yet, though it is on my list.

Verdict: Recommended.

As expected of Charles Dickens, he really did a great work of literature that gives us the wisdom about good and evil in this world. And that despite the evilness that exist in this world, there is still goodness in majority.

a cautionary tale. for those who insist on being orphaned, poor or alive in England in the 1800s. please be aware that you do so at your own risk

actual rating: 3.5 stars

(918 From 1001) - Oliver Twist, Charles Dickens

Oliver Twist; or, the Parish Boy's Progress is author Charles Dickens's second novel, and was first published as a serial 1837–39.

The story centers on orphan Oliver Twist, born in a workhouse and sold into apprenticeship with an undertaker. After escaping, Twist travels to London, where he meets "The Artful Dodger", a member of a gang of juvenile pickpockets led by the elderly criminal, Fagin.

Oliver Twist is born into a life of poverty and misfortune, raised in a workhouse in the fictional town of Mudfog, located 70 miles (110 km) north of London. He is orphaned by his father's mysterious absence and his mother Agnes' death in childbirth, welcomed only in the workhouse and robbed of her gold name locket.

Oliver is meagerly provided for under the terms of the Poor Law and spends the first nine years of his life living at a baby farm in the 'care' of a woman named Mrs. Mann. Oliver is brought up with little food and few comforts. Around the time of Oliver's ninth birthday, Mr. Bumble, the parish beadle, removes Oliver from the baby farm and puts him to work picking and weaving oakum at the main workhouse.

Oliver, who toils with very little food, remains in the workhouse for six months. One day, the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel.

This task falls to Oliver himself, who at the next meal comes forward trembling, bowl in hand, and begs Mr. Bumble for gruel with his famous request: "Please, sir, I want some more".

A great uproar ensues. The board of well-fed gentlemen who administer the workhouse hypocritically offer £5 to any person wishing to take on the boy as an apprentice.

Mr. Gamfield, a brutal chimney sweep, almost claims Oliver.

However, when Oliver begs despairingly not to be sent away with "that dreadful man", a kindly magistrate refuses to sign the indentures.

Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service.

He treats Oliver better and, because of the boy's sorrowful countenance, uses him as a mourner at children's funerals.

Mr. Sowerberry is in an unhappy marriage, and his wife looks down on Oliver and misses few opportunities to underfeed and mistreat him.

He also suffers torment at the hands of Noah Claypole, an oafish and bullying fellow apprentice and "charity boy" who is jealous of Oliver's promotion to mute, and Charlotte, the Sowerberrys' maidservant, who is in love with Noah.

However, Mrs. Sowerberry takes Noah's side, helps him to subdue, punch, and beat Oliver, and later compels her husband and Mr. Bumble, who has been sent for in the aftermath of the fight, to beat Oliver again.

Once Oliver is sent to his room for the night he breaks down and weeps.

The next day Oliver escapes from the Sowerberrys' house and later decides to run away to London to seek a better life. ...

عنوانهای چاپ شده در ایران: «اولیور»؛ «اولیور - پسر یتیم»؛ «اولیور تویست»؛ «اولیور توایست»؛ نویسنده: چارلز دیکنز، (امیرکبیر، مرکز) ادبیات انگلستان؛ تاریخ نخستین خوانش: ماه نوامبر سال 1976میلادی

عنوان: اولیور؛ نویسنده: چارلز دیکنز؛ مترجم: محمدرضا سیف، امیرکبیر، 1348، در 180ص عنوان روی جلد «پسر یتیم»؛ موضوع داستانهای نویسندگان انگلیسی - سده 19م

عنوان: اولیور توایست؛ نویسنده: چارلز دیکنز؛ مترجم: یاسمن یاسی پور، تهران، آبان مهر، 1394، در 157ص؛ شابک 9789649016467؛

عنوان: اولیور تویست؛ نویسنده: چارلز دیکنز؛ مترجم: حسین خسروی، تهران، گلشائی، 1363، در 648ص؛ شابک 9789649016467؛
بسیاری از بزرگواران این متن را ترجمه کرده اند، در فرصتی بهتر همه را خواهم نگاشت

مترجمین دیگر خانمها و آقایان: «مجید غلامی شاهدی، تهران، نظاره، 1395؛ در 446ص، و قم، نوید ظهور، 1396»؛ «محمد قصاع، تهران، شهر قلم، 1394، در 120ص»؛ «زهرا قلمبر‌دزفولی؛ شهرقصه، 1395؛ در 46ص، چاپ دوم سال 1396»؛ «مریم سلحشور، قم، رخ مهتاب، 1391، در 225ص؛ «سوده کریمی، قاصدک، 1395، در 32ص»؛ «مهسا یزدانی؛ تهران، شما، 1397؛ در 199ص»؛ «المیرا کاس‌نژاد، تهران، پینه دوز، 1396؛ در 52ص»؛ «م‍ه‍دی‌ غ‍ب‍رای‍ی، در 127ص، نشر مرکز، مریم، 1383، در 127ص؛ «خسرو شایسته، تهران، سپیده، 1366، در 135ص؛ چاپ پنجم 1371»؛ «م‍ه‍ری‌ ص‍ب‍وری، ه‍ران‌: گ‍س‍ت‍رش‌ ان‍ت‍ش‍ارات‌‏‫، 1369، در 157ص»؛ «ای‍از ح‍دادی، تهران، آرمان، 1380، در 325ص، چاپ سوم 1370»؛ «شایسته ابراهیمی؛ گاج، 1395، در 55ص»؛ «سولماز قاسمی»؛ «ه‍ادی‌ ری‍اض‍ی»؛ «م‍ح‍س‍ن‌ ف‍رزاد»؛ «حبیبیان»؛ «معصومه موسوی»؛ «رحیم اصلانی»؛ «ماریه برزگران»؛ «نرگس بهرامی»؛ «سمیه شکرزاده»؛ «مهسا محجوب‌لاله»؛ «سحر حدیقه»؛ «متین پدرامی»؛ «رش‍ا خ‍ال‍دح‍داد»؛ «یوسف قریب، گوتنبرگ، 1386، در 559ص، چاپ دوم 1388»؛ «پارميدا درسرا»؛ «رضا مرتضوی»؛ «ج‍ل‍ی‍ل‌ ده‍م‍ش‍گ‍ی»؛ «ع‍ن‍ای‍ت‌ال‍ل‍ه‌ ش‍ک‍ی‍ب‍اپ‍ور، 1362، در 408ص، چاپ چهارم 1369»؛ «الهام‌سادات یاسینی»؛ «مهسا شهبازی»؛ «افشین امیری‌ججین»؛ «فاطمه حقیقی»؛ «علیرضا کاشانی»؛

هشدار اگر هنوز کتاب را نخوانده اید و میخواهید آن را بخوانید، ادامه ی این نوشتار را نخوانید؛

نویسنده در «الیور تویست» به بررسی اوضاع وخیم یتیم‌خانه‌ ها، در «انگلستان» در آن دوران، می‌پردازد؛ «اولیور»، پسربچه ی یتیمی است، که پس از فروخته شدن از سوی یتیم‌خانه، به پیرمردی تابوت‌ساز، تصمیم می‌گیرد، از شهر فرار کند، و به «لندن» برود، در میانه ی راه، با پسری دزد، آشنا می‌شود، که برای پیرمردی «یهودی»، در «لندن»، کار می‌کند؛ و «اولیور» را نزد او می‌بَرَد، تا ناخواسته آموزش دزدی ببیند؛ ...؛

سرانجام «اولیور» بی‌گناه دستگیر می‌شود؛ شاکی او، که فردی عاقل است، او را به‌ عنوان فرزند، در خانه نگهداری می‌کند، اما از بخت بدِ «اولیور»، در خیابان توسط همان دزدان، دوباره دزدیده می‌شود؛ و اینبار از او برای سرقتی بزرگتر استفاده می‌کنند؛ «اولیور» در آن سرقت تیر می‌خورَد، ولی از سوی همان خانه که قصد دزدی داشته، پذیرفته می‌شود؛ و از او مراقبت می‌شود؛ سرانجام، شخصی به نام مستعارِ «مانکس»؛ پیدا می‌شود، که برادر «اولیور» است؛ و قصد کشتن او را دارد؛ و خبر خطر مرگ «اولیور» به اهالی خانه می‌رسد؛ از قضا صاحبان پیشین «اولیور» نیز، که «اولیور» از پیشِ آن‌ها دزدیده شده بود، او را پیدا می‌کنند، و با یاری صاحبانِ تازه ی «اولیور»، سعی در نجات او دارند؛ سرانجام «اولیور» نجات می‌یابد، و تمامی دزدان به سزای خود می‌رسند، و واقعیت‌ها نیز برملا می‌شود؛

تاریخ بهنگام رسانی 01/07/1399هجری خورشیدی؛ 19/05/1400هجری خورشیدی؛ ا. شربیانی

3.5

This is a great book about a foundling in England who learns a life of crime for his existance.

First of all, Oliver Twist is a shitty book. His second, following the comedic Pickwick Papers, it shows Dickens reaching for new territory: exposing the hopelessness and injustice of destitute life in London. But it's maudlin, obvious, predictable, lame. Oliver is such a simpering bitch that it's impossible to give a shit about him. Bad people want to use him; good people want to pamper him; you are bored. Dickens will write great books, but not yet.

Second, Oliver Twist is a hateful book. Dickens has created in Fagin an embodiment of bigotry; a leering, black-nailed, money-grubbing Jew who's nearly always referred to as The Jew, as though Dickens wasn't sure we'd get it. Fagin is the most memorable character in Oliver Twist, and he's inexcusable. Look, I've read a lot of Victorian novels; I'm familiar with the casual anti-Semitism that's nearly unavoidable in them; I understand the context of the time. Dickens is well beyond that context. For his time, Dickens was a hater. "It unfortunately was true," he said in his own defense, "of the time to which the story refers, that the class of criminal almost invariably was a Jew."

To be fair, not that I want to be, in the last chapters of Oliver Twist, he seems to have worked the storytelling issue out. Nancy and Sikes suddenly take over the book, although I doubt Dickens knew they would, in a climax of terrific power; and Fagin's last scene is equally powerful. But it's way too little, way too late.

This is a shitty, hateful little book. It makes me think less of Dickens. I wish he'd done better.

أوليفر تويست.. من أوائل الروايات التي قرأتها صغيرة وكانت الخطوة الأولى لمسيرتي في القراءة...

إحدى كلاسيكيات الأدب الإنجليزي والعالمي.. وإحدى إبداعات الكبير تشارلز ديكنز..

رواية ممتيّزة، تصوّر البؤس والشقاء والاستغلال الذي يتعرض له أطفال الملاجئ المساكين..
وأوليفر.. ذلك الطفل المسكين البائس ذا النغس الكريمة العزيزة الذي قاسى الأمرّين مع عصابة اللصوص والمجرمين..
يا للأطفال البائسين الضعفاء.. :(

لكن الفضيلة والعدالة تنتصر في النهاية فهذه سنّة الكون..

أسقط تشارلز ديكنز حياته الشخصية وواقعه وواقع المجمتع الإنجليزي في فترة الثورة الصناعية على شخصية أوليفر، وما تبعها من بؤس للناس وتفاوت في الطبقات الاجتماعية وتزايد شريحة الفقراء وعمالة الأطفال..