The Hidden Jane Austen, by John Wiltshire—A Review

The Hidden Jane Austen, by John Wiltshire (2014 )From the desk of Br. Paul Byrd, OP: 

What is it about Pride and Prejudice or Mansfield Park or any other of Jane Austen’s novels that draws readers in and then keeps them coming back again and again, even though they already know what is going to happen? In The Hidden Jane Austen, Australian Austen scholar John Wiltshire argues that the answer to this question lies in two related features of the novels. Firstly, Austen displays a keen comprehension of human behavior in all its complicated, messy manifestations—in particular, the way that humans misinterpret or misremember events in their efforts to build identities, establish and maintain relationships, and find a place in community. Secondly, Austen crafts her narratives with these human behaviors in mind, making them central elements not only to characterization, but also to plot structure. But she does this in such a way that requires her readers to “keep up”—meaning they have to be attentive not only to what is on the page at hand, but to what was on all the other pages before, and even to what wasn’t on any page at all, the silences that are provoking in their ambiguity. For it is in the unspoken that readers find the “hidden” Elizabeth or Fanny or, indeed, the “hidden Jane Austen” herself, the master writer relying on readers to pay attention.

To illustrate his thesis, Wiltshire conducts a psychoanalytic study for each of the six major novels, which basically means he tries to uncover the underlying motivations for character behavior. His angle for Northanger Abbey and Pride and Prejudice is memory and attentiveness. Why, for example, does Catherine Morland forget John Thorpe’s clumsy marriage proposal hint, but internalize all too thoroughly Henry Tilney’s playful ghost stories? Simple, she was in love with Henry, not John (18). This same principle of memory is explored more deeply in Pride and Prejudice, a novel whose intelligent heroine somehow misinterprets and misremembers all too frequently. But Darcy is guilty of this too, although he is kinder to Elizabeth than she is to him (64). Wiltshire argues that it’s Austen’s memory games that make these two playful novels so pleasing to readers and re-readers—especially to those interested in finding out how they too were so easily mislead.

The chapter on Sense and Sensibility is a fascinating character study of Elinor Dashwood and the way in which silence is both imposed on Elinor and used by her to wage war against her romantic rival, Lucy Steele. Wiltshire highlights the harshness of this novel’s setting and the ways in which Elinor’s manipulation of others mirrors that of Lucy. Even more fascinating is Wiltshire’s claim that while the narrative approves of Elinor’s use of concealment, it nonetheless reveals Austen’s anger at society for requiring levels of duplicity which, in turn, compromise one’s moral integrity (50).

Equally fascinating are the two chapters dedicated to Mansfield Park. The first focuses on Mrs. Norris—Austen’s most glorious villain. While Wiltshire isn’t interested in exculpating Mrs. Norris, he is happy to piece together her back-story in an effort to explain her behavior. What he offers is a delicious psychological theory of sibling rivalry and coping mechanisms. He writes, “[Mrs. Norris] needs continuous self-soothing and self-appeasing, and that is because in her deepest sense of herself she is a victim” (89). If this is true of Mrs. Norris, what can be said of Fanny Price? His second chapter on Mansfield Park answers that question, tackling superbly the age-old critiques of Austen’s most underappreciated heroine by pin-pointing the tell-tale signs of her coping behavior: over-compensation, self-abasement, psychosomatic ailments, and, of course, passivity (98-100). But rather than these making Fanny into the obsequious niece both Mrs. Norris and Sir Thomas expect her to be, Fanny manages to resist their bullying, because she isn’t half as blind to the sins of others as they are to her virtues. But—and this is Wiltshire’s point—she has to resist without showing all of her cards, without, that is, exposing the forbidden love she has for her cousin Edmund. Because of this delicate balancing act, Fanny is misread, both by other characters and by readers (115).

In his last two chapters, Wiltshire explores the role that overhearing plays in Emma and Persuasion. Overhearing implies attentiveness to others, particularly to what they say. But what one thinks one hears (and sees, for that matter) may not match what is actually being said (or seen) due to the interference of one’s own preconceived notions or personal desires. In Emma, this discrepancy is used to comedic effect, as a way to educate the heroine on her own flawed reading of the world. What is brilliant about Wiltshire’s exploration of this is how he highlights Austen’s construction of the miscommunications. He does this with Persuasion, as well; but in that novel the attentiveness to the speech of others is accented, Wiltshire says, by Anne Eliot’s “chronic depression” (147). At first, this may seem a startling diagnosis, but to support it he carefully analyzes Austen’s structuring of her last completed novel. In the first half of the story, Anne has a recessed presence, and her silence and exhaustion contrast sharply with Wentworth’s confidence and activity (153-154). This contrast must soften in the second half of the story in order for Anne to have a successful end, which is why, Wiltshire argues, that Austen realized she had to revise the original conclusion. In order for the psychology to be right, Anne had to finally emerge from her depression by gaining her voice (162).

As Wiltshire points out most overtly in the Mansfield Park chapters, Austen’s eighteenth century Enlightenment-influenced Anglican spirituality plays an important role in shaping the psychology of her novels. She accents self-reflection in such a way that it becomes key to understanding the internal moral lives of her heroines and heroes (91). Wiltshire deftly balances his academic expertise with his clear, often poetic, writing style. Best of all, in rooting his psychoanalysis of the novels in discussions about Austen’s crafting of narrative structure, he models for Austen fans of all backgrounds the way to conduct credible dialogues on their favorite characters. His views are modern and original, and not one chapter failed to inspire in me a greater appreciation for Austen’s masterful portrayal of human nature. That is why I give this excellent book, whose best points I have barely highlighted here, five out of five Regency Stars and recommend it as the best book on Austen I have read all year.

5 out of 5 Regency Stars

The Hidden Jane Austen, by John Wiltshire
Cambridge University Press (2014)
Hardcover (204) pages
ISBN: 978-1107061873

Cover image courtesy of Cambridge University Press © 2014, text Br. Paul Byrd, OP © 2014, Austenprose.com

Jane Austen’s First Love Virtual Book Launch Party & Blog Tour with Author Syrie James, & Giveaways

JAFL blog tour banner x 500

I am very pleased to welcome author Syrie James to Austenprose today to officially open her virtual book launch party and blog tour of Jane Austen’s First Love, published by Berkley Trade. This new Austenesque novel is a fascinating combination of fact and fiction, exploring the first romance of fifteen year-old Jane Austen with the handsome and sophisticated Edward Taylor. 

Syrie has generously offered a guest blog sharing her inspiration to write her new book—and to add to the festivities—we will be offering an amazing selection of giveaways including: trade paperback copies of Jane Austen’s First Love, a muslin tote bag stuffed with Jane Austen goodies, and a specially commissioned painting inspired by the novel. Just leave a comment following this blog post to enter. The contest details are listed below. Good luck to all. 

Please join us in welcoming Syrie James.

The inspiration for my novel Jane Austen’s First Love originated several years ago when I was re-reading Jane Austen’s letters. I was struck by three sweet and tender references Jane made to a young man she met as a teenager while visiting her brother Edward Austen in Kent.

Bifrons Park Kent Patrixbourne

Painting of Bifrons Park, near Patrixbourne, Kent, circa 1695

“We went by Bifrons, & I contemplated with a melancholy pleasure, the abode of Him, on whom I once fondly doated,” Jane wrote to her sister Cassandra in September 1796. The “him” she refers to is Edward Taylor, heir to Bifrons, a grand ancestral estate. Jane was twenty when she wrote that letter, and was looking back on a relationship that took place some years before. In two other letters, Jane joked affectionately about Edward Taylor’s inheritance, and, wistfully contemplating his possible marriage, hoped that another generation would be adorned by his “beautiful dark eyes.”

Who was this Edward Taylor, I wondered, upon whom a young Jane had “fondly doated ”? (“Doat” is a variant—now rare—spelling of “dote.”) The definition of “to dote” is “to express and demonstrate great love and fondness for somebody” or “to love to an excessive or foolish degree.” Great love and fondness! Excessive, foolish love! We know so little about Jane Austen’s romantic life, yet here was a solid clue, in her own words, about a young man with whom she was clearly besotted! I was stunned that no one had ever written about it before.

I quickly discovered why Jane’s relationship with Edward Taylor had thus far remained in the shadows: it seemed there was very little information available about him. He is mentioned only briefly in Austen biographies as Jane’s first crush, the earliest of her possible suitors. Determined to learn more about him, I spent many months combing through obscure files on the internet, searching for clues. Thankfully Edward Taylor was a member of the landed gentry. As such, I was able to gather valuable nuggets from a variety of sources regarding his ancestors, his ancestral estate, his parents, his siblings (he had four brothers and three sisters), and himself. I noted that he was a Member of Parliament; I learned the essential dates of his life: birth, marriage, death; I uncovered tantalizing facts about his education and time served in the army, which was puzzling—why had the eldest son and heir served in the army? It was a great start, but hardly enough—I wanted to know about Edward Taylor’s youth, who he was when Jane Austen met him.

Bifron Park, in Kent circa 1900

Georgian remodel of Bifrons Park, in Kent circa 1900  

One day, I struck gold. I discovered a priceless resource, The Taylor Papers, (1913), the candid memoirs and letters of Edward’s brother Lieutenant General Sir Herbert Taylor, compiled decades later by a descendant. These memoirs contain a detailed description of the Taylor children’s unusual and well-traveled childhood abroad and their many accomplishments. All were fluent in five languages, and each played a musical instrument so proficiently that the family gave concerts all over Europe. The Taylors were close friends with princes and princesses, dukes and duchesses, famous artists, and high-ranking religious, military, and government leaders in Europe. The more I read, the more awestruck I became. Edward Taylor was a remarkable young man who had led a fascinating life. No wonder Jane Austen fell in love with him! That he was a real person, and that I had in my possession so many little-known facts about him, was thrilling.

Edward Taylor

Meanwhile, I was intrigued by another Austen fact. In 1791, when Jane’s brother Edward Austen became engaged to Elizabeth Bridges of Goodnestone Park, two of Elizabeth’s sisters also became engaged. I thought it highly unusual that three sisters in the same family should marry almost simultaneously—and it couldn’t be a coincidence that Jane, at the same time, wrote her comedic short story The Three Sisters. I realized that Jane Austen was most likely introduced to Edward Taylor through his connection as both a cousin and neighbor of the Bridges family (Bifrons was only five miles from Goodnestone). It seemed likely to me that Jane visited Kent in the summer of 1791, where she not only met the young ladies who inspired that story, but also met and fell in love with Edward Taylor. And thus my novel was born. I hope that readers enjoy reading it as much as I enjoyed writing it!

Author Syrie James (2012 )AUTHOR BIO Syrie James, hailed by Los Angeles Magazine as “the queen of nineteenth century re-imaginings,” is the bestselling author of nine critically acclaimed novels including The Missing Manuscript of Jane Austen (“A literary feast for Anglophiles”—Publisher’s weekly), The Lost Memoirs of Jane Austen (named one of the best first novels of the year by Library Journal), and The Secret Diaries of Charlotte Brontë (Audie Award, Romance 2011; Great Group Read, Women’s National Book Association). Syrie’s books have been translated into eighteen languages. She is a member of the Writer’s Guild of America and a life member of JASNA. Follow Syrie on twitter, visit her on facebook, and learn more about her and her books at syriejames.com.

Many thanks Syrie, and best wishes with Jane Austen’s First Love. Be sure to return on Monday, August 4th for our review.

A GRAND GIVEAWAY 

In celebration of the release of Jane Austen’s First Love, we are offering four chances to win amazing prizes. Please leave a comment by 11:59 pm, Wednesday, August 06, 2014 stating what intrigues you about this new novel. Winners will be drawn at random from the comments and announced on Thursday, August 07, 2014. Shipment to US addresses. Good luck to all!

Jane Austen's First Love by Syrie James (2014 )

Prize 1 & 2: ONE TRADE PAPERBACK COPY OF JANE AUSTEN’S FIRST LOVE 

Tote bag for JAFL Book Launch

Prize 3: I HEART JANE AUSTEN TOTE BAG 

This fashionable muslin tote bag (size 15″W x 15-1/2″H) is lightweight, environmentally friendly, and the perfect way to express your love for Jane Austen while carrying all your whatnots!

The I HEART JANE AUSTEN TOTE BAG contains the following goodies:

  • One trade paperback edition of Jane Austen’s First Love
  • One trade paperback edition of The Missing Manuscript of Jane Austen
  • 2 bookplates signed by Syrie James
  • Jane Austen keychain
  • Austenesque notecard from JASNA–Northern California region
  • Postcard featuring Jane Austen’s jewelry (from Jane Austen’s House Museum)
  • Postcard featuring Jane Austen’s desk (from Jane Austen’s House Museum)
  • Pride and Prejudice peacock edition commemoratory bookmark

At Goodnestone Park painting framed by Annmarie Thomas

“At Goodnestone Park” by Annmarie Thomas, framed

At Goodnestone Park painting by Annmarie Thomas

Prize 4: ORIGINAL ART PAINTING “AT GOODNESTONE PARK” BY ANNMARIE THOMAS 

One 8” x 10” original acrylic painting on panel, framed and ready to hang by Annmarie Thomas, inspired by the novel, Jane Austen’s First Love, featuring Edward Taylor, Jane Austen and Charlotte Payler.

ARTIST BIO Annmarie Thomas lives, reads, and paints in southern California where she is an active member of JASNA. She is currently designing the JASNA AGM 2017 logo. With a degree in design from UCLA, Annmarie worked as a graphic designer. Now, with three nearly grown sons, she’s returned to fine art painting with one subject being Jane Austen related images. To see Annmarie’s paintings that are not Jane-inspired, click here. Click here to see her Jane Austen art or go to JaneAustenFineArt.com.

Thank you for joining in the celebration of the upcoming release of Jane Austen’s First Love. Please visit more stops along the blog tour, July 28th – August 21, 2014, where you will find additional guest blogs by Syrie James, book reviews and giveaway chances.

JANE AUSTEN’S FIRST LOVE BLOG TOUR SCHEDULE

Read an exclusive excerpt from Jane Austen’s First Love

Jane Austen’s First Love: A Novel, by Syrie James
Berkley Trade (August 5th, 2014), 400 pages
Trade paperback ISBN: 978-0425271353
Digital eBook ASIN: B00G3L7VES

Cover image courtesy of Berkley Trade © 2014; text Syrie James © 2014; text Laurel Ann Nattress © 2014, Austenprose.com

A Very Plain Young Man: Book Two of The Hapgoods of Bramleigh, by Christina Dudley – A Review

A Very Plain Young Man by Christina Dudley 2014 x 200From the desk of Katie P.:

In most novels, the heroine has some kind of quirk, trait, flaw, or unique quality—physical or otherwise–which the hero (and the reader) falls in love with. She could have a temper (Serena, Bath Tangle) or a limp (Sorrel, Friends and Foes). She might stutter (Horry, The Convenient Marriage) or make judgments too quickly (Elizabeth, Pride and Prejudice). She could love to twirl (Marianne, Edenbrooke) or love to take charge (Sophy, The Grand Sophy). She might be stubborn (Margaret Hale, North and South) or love matchmaking (Emma, Emma). She might love to read novels (Catherine, Northanger Abbey) or collect insects and plants (Alice, The Naturalist). The list could go on and on. But the one characteristic not often seen (or ever seen) in a Regency heroine is shortsightedness. In Christina Dudley’s latest continuation of the Hapgoods of Bramleigh series, A Very Plain Young Man, readers meet a rake in need of a bride…and a heroine in need of spectacles.

Frederick Tierney is three things: the heir to two estates, a rake, and an extremely handsome man (which he is very much aware). While in London, he breaks off his relationship with his latest conquest, for the first time getting tired of living the life of a profligate (which disappoints his family), saying false ‘I love you’s’ and being chased after by shallow women. He travels to Somerset for his younger brother’s wedding, and to escape his ex-lover’s clutches, he sends her a letter saying he’s soon to be married.

At the Midsummer Ball, Frederick overhears his sister-in-law’s eldest sister, Miss Elfrida Hapgood, commenting on his looks, but is shocked to hear her analysis that he is a very plain young man. Reluctantly intrigued by her, the only single woman of his acquaintance to have no interest in his opinion or attention, he decides that he has three goals concerning Elfrida: 1. Break her reserve by any means possible 2. Make her find him attractive and 3. Persuade her to become his fiancée.

Elfrida Hapgood is known by her family to be beautiful, calm, stubborn, and near-sighted. Everything farther than a few feet in front of her is blurry, and when she spots the supposedly attractive Frederick Tierney at a distance all she sees is a (very plain) blur. When he volunteers to sit for her sister’s painting and Elfrida gets roped into being another model, she discovers in their close contact that he is the very opposite of a plain young man and not her presupposed idea of a rake. She is mystified as to why he chooses to ignore all the beautiful women throwing themselves at him, instead choosing to spend his days with the Hapgoods.

Frederick’s bright taste in coats and inability to remain serious for any length of time irritates Elfrida, but when he makes it his mission to ruffle Elfrida’s usually unruffled feathers, she discovers that, for good or bad, her feelings for him are much stronger than she thought. When a woman from Frederick’s not so distant past returns, can he convince Elfrida that his life as a rake is over and that he loves only her? And when Elfrida’s cousin offers for her, will she choose security or will she choose love?

A Very Plain Young Man was such a delightful read. While I enjoyed The Naturalist with Alice and Joseph, the second in the series (and especially Elfrida and Frederick) stole my heart. The story and characters were far from predictable, and by the time I read the last page I had filled my Kindle copy with so much highlighting (223 highlighted sections to be exact) that it’s impossible to pick just one favorite quote or section. While this novel can be read by itself I suggest reading The Naturalist first, not because A Very Plain Young Man is not a strong enough novel to stand on its own, but because The Naturalist provides back story and gives the reader more time with the entertaining Hapgoods and Co.

One of my favorite things about A Very Plain Young Man was Christina Dudley’s take on the reformed rake archetype of Regency hero. While staying true to the historical time period’s view of male indiscretions, she created a hero who doesn’t fit the stereotypical “rake” mold. High society accepted affairs and indiscretions (as long as they were handled fairly discreetly), and while Frederick lived this life initially, he felt guilty not only because of Elfrida, but also (and what stands out to me) because of his family.

The two best words I can use to describe Frederick Tierney, Elfrida Hapgood, and the entire novel are ‘enchanting’ and ‘sparkling’. The characters were unique and had depth, and the novel overall was both a witty comedy of manners and a beautiful love story. While considering the pros and cons of A Very Plain Young Man (“Think, Katie, surely there must be at least one negative!”) I can honestly say that I found nothing I disliked about this novel. I highly recommend both books in The Hapgoods of Bramleigh series and look forward to any future Regency romances by Christina Dudley!

5 out of 5 Regency Stars

A Very Plain Young Man: Book Two of The Hapgoods of Bramleigh, by Christina Dudley
BellaVita Press (2014)
Trade paperback (380) pages
ISBN: 978-0983072140

Cover image courtesy of BellaVita Press © 2014; text Katie P. © 2014, Austenprose.com 

Disclosure of Material Connection: We received one review copy from the publisher in exchange for an honest review. We only review or recommend products we have read or used and believe will be a good match for our readers. We are disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

Jane Austen and Names, by Maggie Lane – A Review

Jane Austen and Names, by Maggie Lane (2014 )From the desk of Tracy Hickman:

It seems only natural that an author would be interested in names. My writer friends collect interesting names for future characters and are constantly putting together different combinations. A young Jane Austen playfully tried out a selection of husband names for herself in her father’s parish register of marriages. Expectant parents pour over lists of baby names and struggle to find just the right one. As Maggie Lane points out in the introduction, “The pleasure of choosing names for progeny is one that maiden aunts normally forfeit. But not Jane Austen.” Jane Austen and Names explores her choice of character names and what these choices reveal about the culture she lived in. We also learn about Austen’s personal likes and dislikes through excerpts from her letters.

Ms. Lane begins with a chapter titled, “A Brief History of Names” in which she outlines the changing “common stock” of English Christian names. Names are drawn from a variety of sources and each name has an origin and meaning. The author asserts that these are much less important to most name choosers (parents and authors) than the cyclical rise and fall of names on the social scale. The following describes the cycle that applies as much to our current-day name choices as it did to Regency England.

“Typically, a name or set of names will be taken up at the top of the social hierarchy, being found alien, even absurd, by the majority. Eventually, through familiarity, it will become acceptable to a broad range of people; and by the time it has percolated to the very base of the pyramid, it will have long been shunned by the trend-setters, who are now looking elsewhere. Elsewhere might be a new set of imports, or more likely the revival of an old set of names.”

The next chapters examine the social status of various categories of names as well as naming patterns and practices at the time Austen’s novels were written. Jane’s own name is used to illustrate the trend away from diminutive forms (Sally, Nanny, Betty) very soon after her birth. Her father wrote to relatives in 1775 to announce her birth, declaring, “She is to be Jenny.” However, she was never known by this name, presumably because Jenny began to seem dated, a name for old ladies or servants.

In the last three chapters, the book comes into its full power, examining the use of Christian names to mark the level of intimacy in a social relationship and Austen’s “Feeling for Names.” In our much more casual society, we may miss the full meaning of referring to someone as Catherine rather than Miss Morland. But, as Maggie Lane points out:

“To use a person’s Christian name was a mark of intimacy. Well-bred people with feelings of delicacy towards others did not presume on this intimacy until it was clear that an acquaintance was becoming a real friendship. Most acquaintance, of course, never progressed this far, and people would remain on formal terms for as long as they knew each other.”

Here the author contrasts the friendships between Catherine Morland, Isabella Thorpe and Eleanor Tilney in Northanger Abbey. Where Isabella rushes Catherine into premature intimacy “with no foundation in real feeling” and the two are quickly calling each other by their Christian names, Eleanor and Catherine’s friendship progresses much more slowly and is based on “secure knowledge of one another’s character and values.” Examples from Jane Austen’s other works are included in this chapter, and I look forward to re-reading each novel while paying special attention to the use of names.

The book concludes with an alphabetical index of the names used in Jane Austen’s novels. Ms. Lane’s research is impressively detailed and even includes characters referred to in other people’s conversation. I found only one minor error, referring to “Admiral Crawford” in Persuasion rather than “Admiral Croft” under the listing for the name Stephen. Thanks to Ms. Lane, I now know that Stephen was rarely used by the gentry in Jane Austen’s day, and that she used this name for two servants, one of whom was the Admiral’s man in Persuasion and the other was a groom or postilion in Mansfield Park.

Originally published in print format by Blaise Books in 2002, this digital eBook was recently re-issued by Endeavour Press Ltd. Well-written and engaging in its tone, Jane Austen and Names provides a wealth of information about Jane Austen’s time and a greater understanding of her works. It would make a wonderful addition to any Janeite’s bookshelf.

5 out of 5 Regency Stars

Jane Austen and Names, by Maggie Lane
Endeavour Press Ltd. (2014)
Digital eBook (91) pages
ASIN: B00JYJ0WWO

Cover image courtesy of Endeavour Press Ltd. © 2014; text Tracy Hickman © 2014, Austenprose.com 

Disclosure of Material Connection: We received one review copy from the publisher in exchange for an honest review. We only review or recommend products we have read or used and believe will be a good match for our readers. We are disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

Jane Austen Cover to Cover: 200 Years of Classic Book Covers, by Margaret C. Sullivan: Cover Reveal & Preview

Jane Austen Cover to Cover, by Margaret Sullivan 2014

I am very pleased to have the ironic honor of officially revealing the cover of a new book about Austen-inspired book covers, Jane Austen: Cover to Cover, by Margaret Sullivan. I think it rather handsome myself. My background in design gives it two big thumbs up to the artist commissioned by Quirk Books and to the author for having the good taste of approving it.

Cover design is a tricky thing that I am quite opinionated about. Over the years there have been many good, bad and down-right ugly Jane Austen book covers and I am so excited to see what Margaret has selected illustrating our favorite author’s novels, nonfiction and more. Here is a brief preview of the book from the publisher and the author.

Congratulations to Margaret.  Jane Austen Cover to Cover: 200 Years of Classic Book Covers releases on 11 November, 2014. Pre-orders are available through Quirk Books and many online and brick and mortar booksellers.

DESCRIPTION FROM THE PUBLISHER: 

Jane Austen’s six novels are true classics, still immensely popular some 200 years after their first publication.

But although the celebrated stories never change, the covers are always different. Jane Austen Cover to Cover compiles two centuries of design, from elegant Victorian hardcovers and the famed 1894 “Peacock” edition to 1950s pulp, movie tie-in editions, graphic novels, foreign-language translations, and many, many others. Filled with beautiful artwork and insightful commentary, this fascinating and visually intriguing collection is a must for Janeites, design geeks, and book lovers of every stripe.

FROM THE AUTHOR:

In the past few years, I’ve become increasingly interested in the aspect of Jane Austen’s life as a professional author. There is ample evidence that Austen took a very pragmatic and careful approach to the business of being an author. She sounds like any modern author, complaining about the slowness of the printers and the business practices of her publishers. When Quirk Books approached me to write Jane Austen Cover to Cover, it was probably my interest in this subject that made me want to write it.

The other reason I wanted to write it was the splendid opportunity to snark funny book covers! I’ve been doing that for years on my blog and among friends online and off, and even had a modest collection of Austen novels with amusing covers. There is certainly a representation of silly covers in the book, but as it developed I was really thrilled to find out how many truly beautiful covers and designs I found, particularly from recent years. Designers are doing some great work for our favorite author.

I’ve read and written extensively on Jane Austen’s novels and the time in which they occur, and Jane Austen Cover to Cover is a different look at the novels–the actual production of the objects that we read. It’s a two-century journey from handmade paper and handset type through everything digital, and the lodestar is the novels themselves–those gorgeous, wonderful stories that never change, and are always there to delight us.

GIVEAWAY CHANCE FOR

JANE AUSTEN COVER TO COVER 

Enter a chance to win one of thirty print copies available of Jane Austen Cover to Cover by Margaret C. Sullivan offered through goodreads until 01 August 2014. Just follow this link and click on the “enter to win” button to be qualified. shipment to US addresses. Good luck to all!

margaretcsullivan2014x150AUTHOR BIOGRAPHY:

Margaret C. Sullivan is the founder of AustenBlog.com and the author of The Jane Austen Handbook and There Must Be Murder, and contributed the story “Heard of You” to the anthology Jane Austen Made Me Do It. Her favorite Austen novel is Persuasion. She Tweets as @mcsullivan and hangs out on Facebook. By day she is a web content coordinator for a large international law firm, and by night attempts to convince the world that Henry Tilney really is the best Austen hero.

Jane Austen Cover to Cover: 200 Years of Classic Book Covers, by Margaret C. Sullivan
Quirk Books (11 November 2014), 224 pages
eBook: ASIN: B00KEOF6LU
Hardcover: ISBN: 978-1594747250

Cover image courtesy of Quirk Books © 2014; text Margaret C. Sullivan © 2014, Austenprose.com