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'A Christmas Carol' has been described as the most perfect of Dickens's works and as a quintessential heart-warming story, and it is certainly the most popular.
I thought it was a glorious thing to be a critic and to be a literary editor, and one was really doing something that mattered: to keep up standards, to take books seriously.
I was working at the 'Evening Standard' when I heard that there was a job going as deputy literary editor on the 'New Statesman.' I remember thinking, 'That's perfect.' It was three days a week, and I had children, but I could make that work - so I applied for it and got it.
When dealing with a subject who is dead, you have this feeling of being God. You know who they're going to marry, when they're going to die. It's strange to feel so omniscient.
In 2007, several musicologists contacted me at about the same time, expressing interest in the work of the mysterious Muriel Herbert, a few of whose songs they had come across.
Today's children have very short attention spans because they are being reared on dreadful television programmes which are flickering away in the corner.
I have been fascinated by Dickens worshippers who strenuously deny that he did anything wrong in relation to his wife, even though the record is clear that he did.
When you live with Dickens for years, reading him and trying to present him as faithfully as you can, you can't fail to love the man - so the shock of his bad behaviour is considerable, even when you know it is coming.