Joseph Grego's Thackerayana: Notes and Anecdotes is not a biography in the conventional sense. Instead, it assembles hundreds of sketches by William Makepeace Thackeray alongside excerpts from books he read, creating a mosaic of the novelist's visual and literary imagination. The volume's subtitle promises depictions of 'humorous incidents in his School Life, and Favourite Scenes and Characters in the Books of his Every-day Reading,' and the surviving excerpts bear this out—but only partially. Grego's introduction dwells on the shock of Thackeray's death in 1863 and the financial anxieties faced by his daughters, a framing that feels more like a Victorian memorial than a critical apparatus. The catalog subjects list Thackeray's library and reading habits, yet the text offers only scattered glimpses of those habits, leaving the reader to infer connections between the sketches and the quoted passages.

The Compiler's Frame and Its Limits

Grego's introduction sets a mournful tone, recounting how Thackeray's death 'left, in the hour of their trial, his two young daughters deprived of the fatherly active mind.' This personal angle colors the entire volume, positioning the sketches and notes as a kind of posthumous tribute. Yet the excerpts that follow do not consistently support the biographical narrative. For instance, the introduction mentions Thackeray's 'costly and handsome mansion' and his standing as 'one who really represented literature in the great world,' but the subsequent pages leap abruptly into a series of quotations from the Tatler, with no explanation of how these relate to Thackeray's life. The compiler's voice recedes after the opening, leaving the reader to navigate a collage of primary sources without clear guidance. This structural choice suggests that Thackerayana is more an archive than an argument, a repository of materials that Grego deemed relevant but did not fully integrate.

Thackeray's Sketches as Evidence

The volume's title page boasts that it is 'Illustrated by Hundreds of Sketches BY WILLIAM MAKEPEACE THACKERAY,' and the excerpts hint at the range of his visual output. The introduction refers to 'humorous incidents in his School Life,' but the text itself offers no sustained description of those drawings. Instead, the reader encounters a long passage from the Tatler (No. 111) describing a 'fine lady' who visits Mr. Bickerstaff, complete with a 'pretty hesitation' and a fan held to her face. Thackeray's sketches, if they accompany such passages, are not described in the excerpts; the reader must imagine how his line drawings might have visualized the scene. This gap between the promise of visual evidence and its actual presentation is a notable feature of the text. The catalog subject 'Thackeray, William Makepeace, 1811-1863 — Books and reading' finds partial confirmation in the quoted Tatler essays, but the excerpts do not reveal whether Thackeray himself annotated or responded to these readings.

The Tatler Excerpts and Their Function

The most substantial excerpts in the provided text are from Joseph Addison's Tatler papers, specifically numbers 111 and 116. These passages showcase the periodical's blend of social satire and moral reflection: one describes a lady's visit to Mr. Bickerstaff, complete with a ledger of visits 'received' and 'paid'; another offers a meditation on 'mental infirmities' and the dangers of 'covetous' old age. Grego includes these without explicit commentary, leaving the reader to wonder why they were chosen. The Tatler was a staple of eighteenth-century literature that Thackeray admired, but the excerpts alone do not demonstrate how he used or transformed such material. The catalog subject 'Novelists, English -- 19th century -- Biography' is only weakly supported, as the text provides more of Thackeray's reading than his life. The excerpts end abruptly with a discussion of hooped petticoats, a fittingly trivial note that underscores the volume's miscellaneous character.

Thackerayana rewards readers who approach it as a cabinet of curiosities rather than a coherent biography. The sketches and excerpts invite comparison, but the connections must be drawn by the reader. Grego's editorial hand is light, and the volume's value lies in the raw materials it preserves—Thackeray's visual humor and the literary culture he inhabited. Those seeking a narrative of his life will need to look elsewhere; those interested in the texture of his imagination will find much to explore.