As a former evangelical I was looking forward to this book because I thought it might mirror some of my own thoughts and feelings about religion and its practice. I was not disappointed at all.

Gina Dalfonzo presents excerpts from the works of Dickens and does a marvelous job of letting the text speak for itself, allowing Dickens to truly critique not the faith, but the practitioners of that faith in the world he lived.

Every chapter begins with a brief introduction to the main theme, which I found to be very helpful and I think will help many readers who are attracted to the word “gospel” in the title without ever having read Dickens himself. I am by no means an enthusiastic reader of the works of Dickens, but I am eager to pick up more of his works now. Having read some of his works, however, I remember the feeling of melancholy which his writing brings to life. Some of his writing I recognized as a critique of false piety, but until now I was not truly aware of how comprehensive this was in his works.

I urge anyone reading this to pick up a copy of this book and read it. Then go get some Dickens and read that too! ( )

Reason Read: Early Reviewers 2020. This book has short excerpts from various works of Dickens that the editor feels represents the Christian vision and values found in Dicken’s writing. I see characters who are either hypocrites with greed, injustice. I would say that even in Victorian England, Dickens believed that people but also government should do something to right the poverty of many. I was hoping for more that the book delivered.
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Gina Dalfonzo provides us with dramatic excerpts from the writings of Charles Dickens (1812-1870). The selections illustrate Christian themes assigned to three Parts: (I) Sin and its Victims, (II) Repentance and Grace, and (III) The Righteous Life.

The Introduction makes the point that "Dickens acted out scenes in the mirror as he wrote them and stunned audiences with the almost frightening intensity of his public readings." These short excerpts are ideal for public readings. I look forward to more stunned audiences.

Our Internet, and I emphasize our ownership and responsibility, cries out for meaningful and dramatic content. Thanks to Dalfonzo, here it is! With or without a pandemic, take a look at Dickens for heartfelt and salutary material. Then take Drama/Theatre classes and learn to use video editing software. Make your "readings" public, just as Dickens did.

Turning to the religious issue raised by Dalfonzo's title, what is this Gospel? In a short authoritative and pithy Introduction, Dalfonzo asks, did Dickens actually have a "Christian faith"? [xiv] Pertinent to our proposed use of this book, if Dickens had a Faith, does his expression of it in his works preclude or forestall the relevance and excitement which dramatic contemporary recreations might inspire? The work still inspires, but Dickens himself never sought to monetize his Christianity or the fears of Religion. Dalfonzo writes with authority on this history: "Charles Dickens was certainly not one to fake a religious enthusiasm or concoct fictitious spiritual insights or experiences for public consumption." [xv]

In fact, in a double-edged trenchant observation, the Introduction notes that many of his "supposedly Christian characters are so villainous as to throw many readers completely off the scent." Dickens attended the Church of England [xv], and makes express bows to the "impressive" readings from Cranmer's Book of Common Prayer. Much of that graceful text is used for rituals to this day. [210, citing an Essay "What Sunday Might Be" which denounces attempts to criminalize sectarian activities on Sunday].

Dalfonzo also quotes Peggy Fletcher Stack, a Mormon-based journalist-theologian, who emphasizes that Dickens "believed deeply in Jesus as Savior and in his moral teachings". Of course, it remains true that many of his Christian characters "represent the worst in religion: greed, hypocrisy, indifference to human suffering, arrogance, self-righteousness and theological bullying." Dalfonzo joins Stack in citing professor Brian McCuskey who says Dickens was "more interested in the general spirit than the specific letter of the faith…Holding broad, loose beliefs, he had little patience for either institutional or evangelical Christianity." [xv] In Oliver Twist, for example, Dickens mercilessly lampooned the pompous religious hypocrites, such as Mr. Bumble. While devoting his life to many charitable endeavors, Dickens's work is a warning against narrow evangelism, and the fracturing of the church based on denominational claims of doctrinal privilege.

This collection of excerpts includes portions which assure us of Dickens' love of the teachings of Christ, while at the same time showing his expressed distaste for doctrinal dispute and hypocrisy. The Introduction documents and underlines the fact that "It was religious hypocrisy that Dickens hated, not religion…". [xvii] To his critics, citing his repeated excoriations of noisy evangelicals and relentlessly money-collecting missionary societies, Dickens claimed that "All my strongest illustrations are derived from the New Testament." [xvii] He also preached religious tolerance, defending Unitarians [his adopted Church, and among his best friends] and Catholics [see "Barnaby Rudge"]. Dickens inveighed against the fake religion so often "begotten of intolerance and persecution".

Dalfonzo is careful not to over-egg this pudding of theology. Theology which reads the Sermon on the Mount as inclusive, open even to un-believers, does not shut the door toward Believers. Some of his characters cling to their Bibles and flags, and Dickens himself was immersed in the habit of bible reading and prayer. [xviii] These works are filled with "coincidence" which often mirrors a providential hand. She cites the contemporary scholar Keith Hooper, and the Catholic peer, G.K. Chesterton. Of course, the themes exemplified by Dalfonzo are expressions of fall, repentance, redemption, and restoration, clearly Christian elements. Characters frequently pray for forgiveness--for example, the martyred and murdered prostitute Nancy in Oliver Twist, and the redeemed "criminal" suffering at the hand of the political power-monger in A Tale of Two Cities.

Dalfonzo also brings out the Unitarian Universalist themes in Dickens--the diversity of characters, the utter disregard for doctrinal disputes, the warm reception for tolerance. Again, the selection of these themes is not an attack on Evangelists, or Non-Believers, for that matter. Everyone should dive into this book for its treasures brought neatly to us from the peak of the Gospel-soaked and Enlightened Victorians. My point is that the "Gospel" which cast its spell upon Dickens was the holy scripture which was taught in the pulpit of his good friend, William Johnson Fox, a Unitarian minister. Among fellow congregants was John Forster, a lifelong friend--historians do not forget that Forster became Dickens's literary executor and biographer.

I only bring up the question of Unitarians because Dalfonzo adverts to the fact that apparently some Christians have made too much of Dickens' propensities in that direction, as if it is an adulteration. Dalfonzo sets this right with this wonderful pronouncement, undoubtedly appropriate: "Much has been made of Dickens's involvement with Unitarianism, a faith that attracted him precisely because he saw its members putting the needs of the poor and oppressed above doctrinal nitpicking." [xvi]

Dalfonzo concludes this treasure-house of excerpts across Dickens's work with the final chapter of A Christmas Carol. The infamous Scrooge awakens from a night of strange and strangely real, dreams. Dickens concludes, and unites all of humanity, with the Unitarian Universalist blessing of the crippled child, Tiny Tim, "God bless us, Every One!" ( )

I did not have very positive experiences with Dickens in school. But I've always loved A Christmas Carol, and because of that, and the advice of several readers I trust, I've been persuaded to give him another shot. This has been an excellent guide to understanding Dickens' redemptive vision, and has helped me find a few titles I'd like try whenever I finally finish David Copperfield. Highly recommend! ( )

Many people, when they hear the name Charles Dickens, think of his well-known works such as A Christmas Carol, Oliver Twist, and A Tale of Two Cities. Quite a number have seen the movies based on these classics. Relatively few have read one or more of his books from start to finish.

For those like myself who have never read a complete novel penned by Charles Dickens, Gina Dalfonzo’s book The Gospel in Dickens has provided a well-received introduction to Dickens’ writings. Dalfonzo commendably introduces Dickens to her readers in the first pages of the book, focusing primarily on his portrayal of Christian beliefs as reflected in his writings, as well as probing into the matter of his personal convictions. She then gives the reader a well-rounded selection of excerpts, compiled topically under three main categories, which serve as the book’s three parts: Part I: Sin and Its Victims; Part II: Repentance and Grace; and Part III: The Righteous Life.

After reading the selections in Part I, there is no doubt in my mind that Dickens grasped the sad reality of life in a fallen, sin-filled world. He vividly portrays the total depravity of men and women, and his readers are confronted with the gut-wrenching consequences of sin. While reading Parts II and III, I was impressed by Dickens’ ability to draw his readers into his narratives, but I was also left with the impression that his portrayals of repentance, grace, and the righteous life were often less than astounding, especially when compared to his dark portrayals of sin.

Could this perhaps be explained because of Dickens’ reticence to proclaim the life-changing work of Jesus “from the housetops?” Or perhaps the excerpts relating to repentance, grace, and the righteous life seem rather muted or pale because they present human morality more than supernatural regeneration. For it is only as a sinner trusts in Jesus to save him or her from the depths of sin that any true and lasting change can take place. Was Dickens more enamored with the teachings of Jesus than with the salvation of Jesus? Is the gospel of Dickens merely a social gospel, instead of the gospel preached by Jesus and the apostle Paul, the true gospel that is the very power of God? Sadly, no excerpt in The Gospel in Dickens clearly describes the gospel in truly Biblical terms. Lacking is the gospel’s theme of the crucified and risen Jesus as the source of eternal life, forgiveness of sins, and true hope and joy for all who would believe in Him. It is this gospel that must be proclaimed and accepted. Unfortunately, this gospel is sorely missing in the excerpts found in The Gospel in Dickens. ( )