Contents: Introduction; The Dickens world: a view from Todgers's, Dorothy Van Ghent; Dickens: realism, subjunctive and indicative, Donald Fanger; Dickens's slum satire in Bleak House, Trevor Blount; The strategy and theme of urban observation in Bleak House, Alan R. Burke; Introduction to Dombey and Son, Raymond Williams; The city and the river: Dickens's symbolic landscape, Avrom Fleishman; Dickens and London, Philip Collins; Little Dorrit in Italy, William Burgan; City life and the novel: Hugo, Ainsworth, Dickens, Richard Maxwell; Dickens the fl'neur, Michael Hollington; Bleak House and Victorian art and illustration: Charles Dickens's visual narrative style, Donald H. Ericksen; Dickens, Ruskin and the city: parallels or influence?, Charles Swann; Dickens's sublime artifact, Ronald R. Thomas; The grotesque and urban chaos in Bleak House, Kay Hetherly Wright; London, Dickens, and the theatre of homelessness, Murray Baumgarten; Dickens, 'Household Words', and the Paris boulevards (parts I and II), Michael Hollington; Dickensian architextures or, the city and the ineffable, Julian Wolfreys; The Uncommercial Traveller and the later Dickens, Robin Gilmour; Bleak House, Vanity Fair, and the making of an urban aesthetic, Sambudha Sen; City spaces: Martin Chuzzlewit, Jeremy Tambling; 'Turn again, Dick Whittington!': Dickens, Wordsworth, and the boundaries of the city, Patrick Parrinder; Touring the metropolis: the shifting subjects of Dickens's London sketches, David Seed; An Italian dream and a castle in the air: the significance of Venice in Little Dorrit, Peter Orford; Hogarth, Egan, Dickens and the making of an urban aesthetic, Sambudha Sen; A more expansive reach: the geography of the Thames in Our Mutual Friend, Michelle Allen; Dickens: intimations of apocalypse, Robert Alter; Name index.