‘A ERECTION Ric GHAR bee«LASSICS ILLUSTRATED aro adaptations of the world’s groatest works of literature, produced by some of the world's most talented writers and artists. Each lavishly illustrated volume is an accurate representation of the original work — distinctive, fresh and innovative, yet faithful to the book and true to the intentions of the author. here are reasons why the original works are classics: Each is unique, each has weathored tho test of time, and each continues to reflect and address the undying spirit of humanity in today's world. CLASSICS ILLUSTRATED roflect those individual styles that made the original works great — not just the stories, but the nuances as wall, These adaptations naturally are abridged, but care has been taken to maintain the narrative sweep and as much of the original dialogue and narration as possible. hile they stand on their own merits, CLASSICS ILLUSTRATED aro not substitutes for the originals. Rathor, they are artistic interpretations, perfect introductions to an exciting world of remarkable ideas and unlimited possibilities — the world of great literature.hl LEARY } cians \ ok aka..HARLES DICKENS wrete “*" Great Expectations, as he did many of his major works, a8 a serialized novel published in regular magazine installments. Often, Dickens was just one jump ahead of his weekly deadlinas; most of Great Expectations was in print wall before he began work on the final chapters. Relaased in 1861, late in Dickens’ careor, the novel captured the popular imagination as no other work had done. Like his later novels, Great Expectations is deop, brooding and uncompromising, mirroring his growing concerns about life in Victorian England. At the time, poverty was rampant, the poor ware often jailed in dabtors’ prisons, the gap between the lower and middle classos was. ever-widening, and the national dostiny was determined by a dispassionate, woalthy few. Not publicly outspoken, Dickns used his writing to argue for social change, The world of Great Expectations is peopled by characters bearing Dickens’ unmistakable genius for caricature, but they are portrayed in a new and questioning light. Through the book's principal charactor, Pip, Dickens presents the ambivalence of the age-old fight of gocd against evil. Pipis not simply a young man of native goodness who Is thrown on adversity and finally pravails, but a complicated mixture of good and bad. Good eventually triumphs, as Pip loarns that material wealth does not necessarily bring spiritual Woalth, becomes aware of his power to shape his own fate, and realizes thal virlue comes not from outward appearance but from inner merit. On a simpler level, Great Expectations is a compelling portrait of adolescence, capturing the newfound awe and frustration of a young man as ho comes of age, and begins to recognize the many possibilities that life presents. The final scene of this adaptation is based upon a combination of two toxts: the original ending, a somber passage which adheres to the book's moral jassons, and a second, less melancholy closing, which Dickens hoped would mako the story more acceptable to his readers. Groat Expectations Classics Mustrated, Numbor 2 Wade Roberts, Editorial Director Alex Wald, Art Diroctar PRINTING HISTORY 4st edition published February 1990 Copyright © 1990 by The Berkley Publishing Group and First Publishing, Inc, All rights-reserved. No part of this book may be repreduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, rocording, of by information storage and rotrieval system, without express writton pormission trom the publishers, For information, address: The Berkley Publishing Group, 200 Madison Avenue, New York Now York 10016, ISBN 0-425-12021- TRADEMARK NOTICE: Classics llustrated® is a rogistorod tradomark of Frawley Gorporaiion. The Classics lustrated logo is a trademark of Tho Berkley Publishing Group and First Publishing, lnc. “Berkley” and the stylized “B" aro tradomarks of ‘The Berkley Publishing Group. *First Publishing” and the stylized “1F" are trademarks of First Pubiishing, Inc. Distributed by Berkley Sales & Marketing, a division of The Berklay Publishing Group, 200 Madison Avenue, New York, New York 10016. Printed in the United States of Amarica 1234567690Oy FATHERS Fame Name BEING PIRRIE, BR AND My GitrisTIAN NAME PHILLIP, oy INFANT 3 On BOTH NAMES NO TMS, Z WAS PAINFULLY AWARE. OF MY WORLD: BLEAK CHURCHYARD, THE DARK, FLAT SS OF THE MARSHES, THE WILDERNESS. 3 KER, THE PISTANT, SAVAGE. SEA, AND MOST ESPECIALLY OF YSELE. A SMALL BUNDLE OF SHERS, STARTING 0 CRY.SOMEVITILES! BRING EM BOTH 1 me OR VUL HAVE.YER. HEART AN LIVER COT JJ ANCLISTEN— THERE'S A YOUNG MAN HID WITH ME, COMPARED WITH WHICH 11M ARLANGEL/ RE LOVESDME FOR ME WAS THE SMALL, | [MY SISTERS MRS. JOG GARGERY, WAS MORE THAN TWENTY YEARS CLUES RUDE SMITA'S COTTAGE ON 1, AND HAD ESTABLISHED A GRIAT REPUTATION INTHE THE VILLAGE EPGE. BECALISE SHE. HAD BROUG)IT ME. UP SEY HAND,” ‘CHURCHYARD! IF IT WARN'T FOR, = YOU'D HAVE: BEEN THERE Loni EXT MORNING CHER! DAY—1 STOLE DOWNSTAIRS: AS JHE FIRST HINT OF LIGHT STREAKED THE SKY.7 Se (Yaio. 1 THe LEG-IRGH, AND THEN HE ASKED THE SERGEANT] THEY WERE PRIED APART AND SIAKEN INTO CUSTODY: 2 a. 3 5 § a 2 | i i (JOE REPAIRED : SOE] BANA iH fe Sees WAS CONVICT AND THE. OTHE, LOCKED IN DEADLY COMBAT: rTPe | ml as SS)2 EB i Pea iS L ~ 3 i J UY iu b Hey es CA S SHE WAS ABOUT My OWN aie BOT SEEMED u . we | AND Stir possESsED, t2FT Kez YOU NGT ARKAID OF Al WOMAN WHO HAS NEVER: i P51 = )) K VIA : L\ vA MISS HAVISHAM WATCHING, SILENTLY. f \/ [} aie WR ey LABORING -BOy- _ WELL? YOU fai a re Us i = a, Yeote! : Sei at) T= »| Cate SURPRISED THAN WHEN I LET | OOT MY FIRST BLOW... | ONAN EAP ‘DIRECTLY, || BE WAS ON HIS RACE “TUE I KNOCKED HIM. LOOKING OP AT ME OUT’ a BLACK Eve. NSPRED Me TH 1 marae GREAT RESPECT: FINALLY.WHILE: JOR WAS OUT, OUR. Hots HAD BSN VIOLENTLY ENTERED —AND MY SISTER. AYTACKED AND FORT; ieee AoW Soe oc Sere a ts es ara A ae IS A EY ( A TN i ie i‘BUT I'M NoT AT ALL HAPPY TAM! TAM MY CALLING AND WITH 1 SAL Bor TO SOE, HE AND] By THE FIRE AT BARGEMENRecoonige> Him AS THE IMPOSING, I HAD PASSED ON MISS HAVISHAMS| BEFORE. [ine @AeSERY, MY NE AGGERS, ANDI AR. / MY NAW IS AND: A LAWYER IN LONDON: = CoMTERS 1S LoPGED IN MY HANDS A SUM OF MoNGY SUFFICIENT FOR THEN T FINALLY TOOK, LEAVE, OF BIPPY AND JOE...ee i (Ly | ceier yo! - ASI UNG. MR. PIP, COME. INS. RAVE BEEN APPOWNTEDmT =P ee ‘aIBY THAT TIME, HERBERT AND I HAD SECURED MEIN AND wesive_ ff —- re —— # j 3 “eo rd LIK THE NEXT DAY, T Took LEAVE | | ALL THE WAY Po, ONE of THEM Looks OF HERBERT AND BOARDED | |ACKOSS AT ME. APPRALSED THE. AFTERNOON SPAT CH "THE FLOOR BACK.TO OUR. VILLAGE, a 7 : y = r i y i) 1} \\ ie CO aN J . DINING~| VM. SORRY, BUY CANNOT LATER, MISS HAVISAAM STABBED OR SHOT BELinvi WHAT YoU SAY. (MENT :ng ~ ee fe as 53 | s i i 2 ie >,HE DAY I TORNED “TWENTY-ONE, TWAS ‘TO CAME OTHE BULK CE MY PROPERTY. 1 WAS ASKED: SAGGERS” OFFICE. A. MY OWN LIFE FARED LESS WELL. T ESCORTED ESTELLA DOWN ONE SUNDAY To VISIT (MISS BAVISAAM.[A STRANGE-LOOKING OLD MAN WATE? [[ He WAS CREASED AND WEATHER” PARDEMED, ON THE LANDING. me BUTI KNEW HIM AT ONCE —= IT WAS MY CONVICT!Fe ee) SECOND STAGE OF PIP'S EXPECTATIONS)aos ass if) NOT A PARTICLE OF EVIDENCE! TAKE NOTHING ON IES LOOKS — EEE THING Waa ON EMIDENCE! LtTrIsAN PISCOVERY, NOT LIKELY To ENRICH MY REPUTATION OR T HAVE FOUND OUT WHO. MY PATRON 1S — UNFORTUNATE: FOUND, TO MY GREAT DISTRESS, S| MUST SEE BOTH ‘ 2 2 g a [ i é as“TO THE ILL BE PART OF THE a Lt, ESTELLA, YOU Wi H] ULE coop IN ME, PARY oF THE EVIL. Per:i 1 THANKED mi. WEMAICK FOR YY I COUNTRY ATA MOMENTS NOTICE. ss_ if 3 Sic wes AFTER. WEMMICK AND 1 OOK OUR. LEAVE. 1 ASKED UM ABOUT MOLLY. FOR MURDER, BEEN KEEPING Comp)2 é ies ffouve pone NenHING, xt SHOULP HAVE LOVED l= UNDER. ANY CIRCUMSTANCES . gf l/ 2) ‘BELIEVE, alanERTAIN THAT. Wet HAE IN IDL, S FATHER! WENT INTO ACTION. OM J ERBERT ANY 2 Pur PROVIS INTO A Boar WE, ROWEDUP INTHE MORNING, WEROWED To THE Ravers Rerun Ian ee E BAL | THE STEAMER BOUND POR 3 OR TAH ONE FOR ROTTERDAM. . — =OF HIM HAP ALL ty REPUGNANCE: "ABOARD, Master AOE ANS IN NTS FORFEARFUL DREAMS - LOWEST POINT OF MY ILLNESS, “THE. KEPT FLOATING INTO VIEW:WHAT COULD 1 PO TESPEMYENTREATIES | | BUT FOLLOW? 1 / FoR Homa.D1 TOOK HER. HAND IN MINE, AND WE LEFT THAT RUINED PLACE.|: HARLES DICKENS was born on February 7, 1812, in Landport, Partsea, England. The second of eight children born to a family continually troubled by dobt, the young Dickens experianced hunger and privation, When his penniless father was imprisoned, Dickens learned firsthand of the horrors of the infamous debtors’ prisons and the anguish of toiling in sweatshops. Racollactions of this paintul period inspired most af David Cappertiold and much of Dickens! other fiction. Good fortune — a bequest — finally brought release from the family's financial burdens, and afforded Dickens the opportunity of two yoars of formal schooling at Wallington House Academy, Dickens worked as an ottice clark and newspaper roportor until his Sketches by Boz (1836) and Pickwick Papers (1897) brought him acclaim and success, Through the years, Dickens edited a number of literary periodicals; many of his most papular works were written and published in installments to help keep the magazines solvent, Amang those novels first published in serial form were Oliver Twist (1837), Nicholas Nickleby (1838-1839), A Christmas Carol (1843), David Copperfield (1849-1850), Bleak House (1852-1853), Hard Times (1854), Little Dorrit (1855-1857), A Tale of Two Cities (1859), and Great Expectations (1860-1861). In 1858, the pressure of serial writing, editorial duties, lectures and social commitments led to his separation from Catherine Hogarth and the end of 23 years af marriage, The strains also hastened Dickens’ death on Jun 9, 1870, at the age of 58, as ha labored on The Mystery of Edwin Drood, ICK GEARY was born in 1946 in Kansas City, Missouri, and was reared in Wichita, Kansas. He attended the University of Kansas in Lawrence, obtaining degrees in art and film. He freelanced in San Diego for twalve years, and was published in National Lampoon, Heavy Metal, Epic lustrated, Raw and othar graphic story magazines. Geaty has published four collections: At Home With Rick Geary, A Treasury of Victorian Murder, Rick Geary's Oddities, and Junior Carrot Pavol, ln 1988, alter completing Murder at the Hollywood Hotel, his first animated film, he moved to New York. His work has also appearad in Rolling Stone and the New York Times Book Review, and is syndicated 10a variety of publications,“Che BEST BOOKS since Yank dum — Don Thompson, Comics Buyer's Guide ‘rom the publishers of ‘CLASSICS ILLUSTRATED comes an all-new series of original Oz adventures founded on and continuing the famous OZ stories of L. Frank Written and illustrated by master storyteller Eric Shanower, each perfect bound 48 page volume is lavishly illustrated in full color and measures a large 8"x1 1. Please sond me the following all-new Oz books by Ente Shunower, Ihave checked my selections below and have élded 62.00 per Uitle US. ($3.00 per title Canadian} for postage and banding (linots residents must acid #6 sales tax. I ave enclosed tay: cheek or money order in U.S, funds _—The Enchanted Apples of Oz. #795 US. $10.95 CANADA Tithe secret tntand of OF, 87.95 $10.95 87.95 310.95 38.95 $10.95 Nemes Ares, Sy Lente ip Mall to: OZ, Dept. GE, Firat Publishing, Inc, 435 North LaSalle Street Chieago, I. 605 Offer Expires Apri 30, 19Classics Mlustrated #5: HAMLET. William Shakespeare's great tragedy of murder and madness, adapted by Steven Grant and moodily illustrated Tom Mandrake. $3.75. Classics Ilustrated #6: THE SCARLET r LETTER. fathaniel Hawthorne's portrait of the effects of sin, adapted by P. Craig Russell and beautifully Maser by Jill Thompson. 15. 1 the months to come, the bur- geoning roster of artists and writers whoare adapting the greatest stories ever told for the all-new Classics Illustrated includes Steven Grant and Dan Spiegle on Alexandre Dumas’ The Count of Monte Cristo; John K. Snyder II on Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde; Miike Ploog on Mark Twain's The Adventures of Tom Sawyer; Chuck Dixon and Ricardo Villagran on Jack London's The Cail of the Wild; Grant and Eric Vincent on H.G. Wells’ The Istand of Dr. Moreau; P. Craig Russell and Jay Geldhof on Edgar Alan Poe's The Fall of the House of Usher; Joe Staton on ‘Charles Dickens’ A Christmas Carol; Matt Wagner on Alexandre Dumas’ The Three Musketeers; additional titles by Gahan Wilson, Rick Geary and Bill Sienkiewiez; many more surprises!Charles Dickens’ bittersweet novel, Great Expectations, is the tale of one boy's adolescence, and of the choices ho makes to shape his destiny. Into an engrossing mystery, Dickens weaves a heattfalt inquiry into morals and virtues — as tho orphan Pip, the convict Magwitch, the beautiful Estella, the bitter Miss Havisham, tho geodhearted Biddy, the kind Joe and cther memorable characters @ntwine in a battle of human nature, Rick Geary’s delightful illustrations capture the newlound awe and frustrations of young Pip as he comes of ago, and bogins to understand the opportunities that life presents. Watch for these other great CLASSICS ILLUSTRATED! The Raven and Other Poems — Edgar Allan Poe Dr. Jekyll and Mr. Hyde — Robert Louis Stevenson Moby Dick — Herman Melville ‘Through the Looking-Giass — Lewis Carroll ‘The Scarlet Letter — Nathaniel Hawthorne Hamlet — William Shakespeare ‘The Count of Monte Cristo — Alexandre Dumas The Island of Dr. Moreau —H.G. Wells The Adventures of Tom Sawyer — Mark Twain The Call of the Wild — Jack London EEE