From the desk of Br. Paul Byrd, OP:
“Historical allusions abound in [Austen’s] fiction–they are part of the consciousness of each novel in itself. Combinations of place names and personal names point both back and forward. Or rather, references and images are more than just allusions; we find we are within history all the time. The writing is dense with allusion, thick with multiple sensations and meanings.” (389)
If I could, I’d drop everything to go study at the feet of the great Canadian, Margaret Doody, professor of literature at Notre Dame University. In her latest book, Jane Austen’s Names, Doody offers readers insights into the history that saturates each of Austen’s novels. In this way, the text resembles Janine Barchas’s excellent work Matters of Fact in Jane Austen (2013); but Doody’s work is both more minute and more expansive than Barchas’s in how it incorporates etymological origins for names and places, both real and imaginary, and cross references many of the historical events and literary texts that influenced Austen. Of course, when Doody adds her own analysis of Austen’s novels, the effect is bewilderingly fascinating, like the publication of any gifted professor’s notes after a long tenure of research and teaching.
In Part I of the book, Doody introduces the fine line that Austen walks between allegory and allusion on the one hand and restraint and originality on the other. Doody reminds us that Austen’s Britain is a complex etymological canvas thanks to the presence of Celts, Anglo-Saxons, Normans, and others; she further reasons that “No set or string of events is ever entirely over. Austen’s England is a place of strains and tension, of disharmonies potentially revived or momentarily perhaps forgotten.” (14). To lay the foundation for the other two parts of the book, Doody gives a quick overview of major topics of British history, such as the Norman Conquest, the Tory/Whig divide, and the Tudor/Stuart tug of war for the throne. These topics are important, because they underlay Austen’s word choices, thereby exposing her political and religious sympathies. Continue reading
From the desk of Tracy Hickman:
Several recent histories have popularized Georgian England as “The Age of Scandal” with members of the beau monde starring in colorful “stories of gambling, adultery, high spending, and fast living” (30). Author, lecturer in 18th-century British history, and historical consultant Hannah Greig takes an alternate approach in The Beau Monde. By focusing on the fortunes of the beau monde as a whole, rather than concentrating on the biographies of a few individuals, such as the Duchess of Devonshire, she seeks to present the culture as “a new manifestation of social distinction and a new form of social leadership, one oriented to the changing conditions and contexts of the period.” (31)
After ousting James II from the throne with the support of the English nobility, William III began a series of wars that required him to summon parliament regularly to secure funds for his war chest. Beginning in 1689, the titled nobility came to London for the yearly meeting of parliament and the London season was born. Continue reading
From the desk of Lisa Galek:
Very little has been written about Jane Austen’s life before she started writing at the age of 12. That’s probably because so very little is known about that time. In Young Jane Austen, author Lisa Pliscou focuses on these early years to give us a better understanding of how one of the greatest novelists of all time got her start.
The author begins by letting us know that this particular biography will be a “speculative” one. Since so little is known about Jane Austen’s early years, Lisa Pliscou draws on a wide variety of Austen scholarship to give us a charming portrait of the artist as a young girl. She begins in 1775 with the birth of little Jane—nicknamed Jenny—and takes us up through 1787 when Jane first decides to put pen to paper for the amusement of her family.
Along the way, the author includes short scenes from Austen’s life, but presents them in a narrative format. We meet Jane at various moments in her journey—playing with siblings, spending time with her family, lounging in her father’s library, heading off to school with her sister, Cassandra. Each step of the way, the author reflects on what a young Jane Austen might have felt and thought in these moments.
Most Austen biographies I’ve read tend to gloss over Jane’s early years. They focus more on her evolution as a writer and her years as a successful author. The typical Austen biography also tends to be a little more dense and scholarly because it’s just trying to pack so much information into one little volume. But, Young Jane Austen avoids these pitfalls and, as a result, becomes a delightful and infinitely readable story. Continue reading
Austenesque author Maria Grace has written five Regency-era novels inspired by Jane Austen’s Pride and Prejudice, notably the Given Good Principles series and Remember the Past: …only as it gives you pleasure. Writing period accurate novels requires extensive research, so it seems only logical that Maria should turn her hand to nonfiction. Her latest book, A Jane Austen Christmas, focuses on Regency-era holiday traditions. Here is a preview and exclusive excerpt for your enjoyment.
PREVIEW (from the publisher’s description)
Many Christmas traditions and images of ‘old fashioned’ holidays are based on Victorian celebrations. Going back just a little further, to the beginning of the 19th century, the holiday Jane Austen knew would have looked distinctly odd to modern sensibilities.
How odd? Families rarely decorated Christmas trees. Festivities centered on socializing instead of gift-giving. Festivities focused on adults, with children largely consigned to the nursery. Holiday events, including balls, parties, dinners, and even weddings celebrations, started a week before Advent and extended all the way through to Twelfth Night in January.
Take a step into history with Maria Grace as she explores the traditions, celebrations, games and foods that made up Christmastide in Jane Austen’s era. Packed with information and rich with detail from period authors, Maria Grace transports the reader to a longed-for old fashioned Christmas.
From the desk of Tracy Hickman:
When author Sinead Murphy chose to title her guide to modern dating The Jane Austen Rules it was guaranteed to generate a certain amount of controversy. In the mid-1990s, a dating guide titled The Rules became famous (or infamous, depending on your point of view) for imparting to women “a myriad of tricks and schemes” (14) for finding Mr. Right.
Does Murphy seek to replace one set of arbitrary opinions with another, using Jane Austen’s name as a marketing ploy? Happily Ms. Murphy has not taken this approach. Rather than a narrowly focused “how-to” for dating, she takes readers through the novels of Jane Austen, examining the women and men Austen created and the way their character informs their actions, whether in the pursuit of love or in making other important life decisions.
As such this is not really a dating guide at all; its scope is much wider. In the introduction titled “The Real Thing” Murphy proposes that modern dating guides have a Regency ancestor in the conduct book, full of dos and don’ts for women wishing to succeed in society:
…the Regency conduct book tended to judge a woman by how she conducts herself–that is, by how she acts, by how she seems. The novel, by contrast, was concerned with what women are really like, admitting—perhaps for the very first time—that women too have a fulsome interior life, with thoughts and feelings that are as crucial to get right as the actions that follow from them…And Jane Austen was at the forefront of it all, presenting to the Regency world a host of real women—so determined to do so, indeed, that she invented her very own narrative style, which gives the reader almost unrestricted access to the internal life of her female characters. (4)
From the desk of Tracy Hickman:
Jane Austen sequels thrive on what ifs. What if Darcy’s first proposal had been delivered in a more gentlemanly manner? What if Willoughby had decided to marry for love instead of money? Jane Austen’s unfinished novel, Sanditon, is a different kind of literary “what if” for her fans. The eleven chapters Austen penned in early 1817 introduce readers to a fictional seaside resort with as promising a set of characters as any of her other novels. As Antony Edmonds notes in the introduction to Jane Austen’s Worthing: The Real Sanditon:
“In spite of the fact that during its composition she was suffering from the painful and debilitating illness that killed her, there is little evidence of any diminution of her powers, and had the book been finished it is likely that it would have been the equal of her six famous novels.” (10)
While other authors have taken up the challenge of completing the unfinished story, Edmonds, a researcher and writer who has published numerous articles about the seaside town of Worthing and its literary associations, reveals the parallels between Jane Austen’s fictional town and the real one on the Sussex coast in England that she visited in 1805. As Edmonds explains, researchers have only recently known for certain that Jane Austen visited Worthing. Her letters mention the possibility of a visit, but no further reference is made of the trip. Confirmation of the visit was found in the diaries and letters of Jane Austen’s niece Fanny Knight. Jane Austen’s Worthing includes excerpts from these documents as well as seventy-five illustrations and maps that provide a detailed view of life in Regency Worthing. Continue reading
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. Continue reading