Since the advent of mass-produced books in the late 1800’s, there have been hundreds, if not thousands, of different editions created of Jane Austen’s novels and minor works. While I will not publicly admit how many I own, *cough* I will share that there is more than one copy of her six major works in my bookcase. I have known a few Janeites who admit that they are hell-bent on collecting every old and new edition of Pride and Prejudice ever published. That is an obsession that will soon require a library as large as Pemberley’s expansive shelves.
After reading the description of Janine Barchas’ new book, The Lost Books of Jane Austen, I have a feeling that the author may be in that obsessed category of book collectors too. We are a rare breed and she has my total sympathy and approval.
Hardcore bibliography meets Antiques Roadshow in an illustrated exploration of the role that cheap reprints played in Jane Austen’s literary celebrity―and in changing the larger book world itself.
In the nineteenth century, inexpensive editions of Jane Austen’s novels targeted to Britain’s working classes were sold at railway stations, traded for soap wrappers, and awarded as school prizes. At just pennies a copy, these reprints were some of the earliest mass-market paperbacks, with Austen’s beloved stories squeezed into tight columns on thin, cheap paper. Few of these hard-lived bargain books survive, yet they made a substantial difference to Austen’s early readership. These were the books bought and read by ordinary people. Continue reading
From the desk of Katie Patchell:
I remember what I felt when I discovered that Jane Austen was not famous in her lifetime: Outright shock. I had been a self-proclaimed Janeite for years when I discovered this fact. I had read her books multiple times, collected movie adaptations, researched and written papers about her novels in college, etc. The enormous amount of 21st-century hype around Jane led me to believe that, like Charles Dickens, her fame began in her lifetime. How wrong I was; in fact, many of Austen’s early readers never even knew her name until after she died.
Discovering you are mistaken is always a jolting experience, and I felt like my own literary world had shifted on its axis. Somehow not knowing this fact earlier was very unsettling, and with hindsight, I think it was so unsettling because my ‘Jane Austen timeline’ was thrown off. The little fact about when Jane was famous shouldn’t be a footnote in her history because how and when she became THE Jane Austen is of cultural and historical importance. Not only for what we know about the author, but what we know about ourselves, her fandom. Timelines really do matter. Devoney Looser’s The Making of Jane Austen is a gem of a book because, in it, she answers the integral questions of “how” and “when” that has rarely been asked. How did the early illustrations in Sense and Sensibility affect people’s views of the novel? When did the idea of a brooding Heathcliff-esque hero replace Jane Austen’s original reserved Mr. Darcy? These questions and answers are only a few of the many addressed in The Making of Jane Austen.
Image from chapter two, of an illustration by A. F. Lydon from Mansfield Park, Groombridge & Sons’ (London) 1875. Fanny Price gazing over the verdant park to the manor house.
As advertised on the cover flap, the key question of this book is “How is a literary icon made, transformed, and handed down through the generations?” Each of its four parts contains anecdotes and research that generally follows a chronological journey from the 1800s to present. In the first – “Jane Austen, Illustrated” – Looser gives an in-depth analysis of the artistic interpretations of Austen’s novels. She includes some pictures which are fascinating to view, although I wish there had been more. A highlight for me was learning that Victorian illustrators updated the clothing styles from the Regency to be more “modern” in their images – although these clothing choices are severely outdated now! Continue reading
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 histories, 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 Kimberly Denny-Ryder:
In my opinion, the true sign of loving a book is owning multiple copies and versions of it. For example, I myself own six different copies of Jane Austen’s Pride and Prejudice and Persuasion. Over the years, I’ve found annotated versions, paperbacks, hardcovers, illustrated, vintage, and many other types of printings. I enjoy collecting different copies to compare covers, prefaces, introductions, and illustrations (if they have them.) I love finding new and used bookstores and scouring the shelves for new copies of my favorite books. As a collector will tell you, you can never have enough. I was therefore understandably excited to receive a copy of Jane Austen Cover to Cover by Margret Sullivan, which is a great companion for any Austen collector. Continue reading
From the desk of Tracy Hickman:
I have been a Kim Wilson fan since reading her books In the Garden with Jane Austen and Tea with Jane Austen. Her latest work At Home with Jane Austen, a luscious coffee table book, promises a virtual tour of the places Austen called home. Some of these homes were permanent residences and others were temporary: the sites of visits to wealthy relatives or seaside holidays with her family.
The chapter titles follow the course of Austen’s life. After introducing “The Author” in the first chapter, the remaining chapters are Steventon, Away at School, Bath, Travels and Tours, Stately Mansions, Southampton, By the Sea, Chawton, London, and Winchester. True to its genre, you could have a lovely experience of this book by merely turning the pages and looking at the illustrations and photographs. However, I found Kim Wilson’s narrative of Austen’s life, focused on her surroundings and travels in southern England, to be equally appealing and informative. As Ms. Wilson points out:
Though Jane changed her residence many times, family and home remained the emotional center of her life. She expressed her love of home in her work, creating heroes and heroines who also cherish the idea of home, even when, like Fanny Price in Mansfield Park, they are uprooted and must learn to love a new one: “When [Fanny] had been coming to Portsmouth, she had loved to call it her home, had been fond of saying that she was going home; the word had been very dear to her; and so it still was, but it must be applied to Mansfield. That was now the home. Portsmouth was Portsmouth; Mansfield was home.” (10)
From the desk of Tracy Hickman:
Ask any fan of Jane Austen what they love about her works and they can readily describe cherished characters, pithy quotes, and probably several screen adaptations that are especially close to their hearts. But what about what Austen loved? Jane’s niece Anna Lefroy remembered her aunt as a lover of the outdoors and natural scenery. Her letters are filled with walks in all kinds of weather and you don’t have to search her novels long to find numerous scenes that take place not in a stuffy drawing-room, but on a tree-lined path or windswept hill. Jane Austen’s Country Life focuses on the Hampshire countryside where she spent three-quarters of her life:
“This first-hand knowledge of country life underpins her writing and gives the time-frame against which she constructs her plots; she was not only a clergyman’s daughter, but a farmer’s daughter as well…” (8)
The first chapter “Hampshire” begins with an overview of the county, explaining the then-controversial process of enclosure that deprived the rural poor of the use of common land. Enclosure features in three Austen novels: Sense and Sensibility, Northanger Abbey, and Emma. Descriptions and illustrations of the villages of Steventon and Deane follow, as well as those of nearby Oakley and Ashe. The larger towns of Overton, Basingstoke and Odiham provided the Austen family with well-stocked market places for shopping and assembly balls for dancing and socializing. While Le Faye includes several lovely antique maps of Hampshire, I longed for a simple map showing the villages and towns in relation to one another at this point in the book. Continue reading
From the desk of Lisa Galek:
If you’re like most Janeites, it’s never enough just to read Austen’s novels. You want to live in them, too. That means decorating your house with Austenesque items, baking Regency era goodies, and throwing fabulous book-based soirees. So Jane: Crafts and Recipes for an Austen-Inspired Life by Jennifer Adams and Hollie Keith is the perfect book for bringing your Austen obsession to life in your very own home.
So Jane is an extensive collection of recipes and craft projects inspired by the works and life of Jane Austen. Organized into six chapters—one for each of Austen’s major novels—the book is filled with well over 100 pages of ideas for Austenesque décor, gifts, crafts, and entertaining. There’s Breakfast in Bath (Northanger Abbey), Tea with the Middletons (Sense and Sensibility), Dinner at the Great House (Persuasion), Emma’s Picnic (Emma), A Rustic Dinner (Mansfield Park), and Netherfield Ball (Pride and Prejudice). Each chapter features a full menu and six adorable craft projects inspired by that novel and its characters.
This book is billed as a way to “help you bring all things Austen into your home in a contemporary way” and it completely succeeds. With pages and pages of gorgeous full-color photographs that really bring to life the look and taste of each section, you’ll find tons of Austenesque ideas that you’ll be dying to create. The instructions and steps are very easy to follow. The layout of the book is simple, too—just choose an entire menu or book theme and go from there. If you want to get a little more creative, you can branch out and mix and match ideas from different sections or adjust the projects and recipes for your skill level. The ideas are so creative and inspirational that the possibilities are endless. 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 draw readers in and then keep 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 the 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 misled. Continue reading
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. Continue reading
From the desk of Laurel Ann Nattress:
Harvard University Press is seriously spoiling me. With the release of Northanger Abbey: An Annotated Edition, they have now produced five glitzy coffee table editions of Jane Austen’s major novels. What true Janeite could possibly pass up an unabridged first edition text, an extensive introduction, and notes by an Austen scholar, full-color illustrations, over-sized hardcover format, and copious supplemental material – all wrapped up in a beautifully designed package? Not me!
I have enjoyed all of the editions in this annotated series so far, with only one exception. I am greedy. I want more annotation and was quite annoyed when I turned a page of a previous edition and saw white space in the sidebar columns instead of text. Such a waste when there is so much to write about and Janeites and newbies are eager and grateful readers. The first thing I did when I cracked open this new edition was to skim for the dreaded white space. It looked plump and promising.
Northanger Abbey is indeed the wallflower of Austen’s oeuvre. Like its young heroine Catherine Morland, it is a naïve, wide-eyed debutant in comparison to its light, bright and sparkling older sister Pride and Prejudice. My heart sinks to admit it, but it is true. While readers continually rank it as one of Jane Austen’s least popular novels, I think it is one of her hidden gems—highly under-rated and completely satisfying. I find its exuberant humor laugh-out-loud funny, hunky hero Henry Tilney witty and irresistibly charming, and the spooky Gothic parody brilliant. Why is my reaction so different from the average reader’s? Knowledge. It is extremely helpful to be able to place the novel in a social context and to understand Austen’s layered tongue-in-cheek underpinnings. That’s where this new annotated edition comes in handy. I believe that editor Susan J. Wolfson has pulled together a masterpiece. Continue reading
Tea passed pleasantly, and nobody seemed in a hurry to move. – Jane Austen, Emma, Chapter 41
Taking tea is so quintessentially British. You cannot think of that noble nation without envisioning its residents with a teacup in one hand and a cucumber sandwich in the other. English novelist Jane Austen mentions tea no less than 58 times in her major works. The popularity of tea has grown even more since her Regency times, evolving during the Victorian era into a light meal served at four in the afternoon: resplendent with white linen, silver trays, scones, and clotted cream. Today, in our fast-paced-world of takeout food and frozen dinners, attending a tea party at a friend’s home or tea room is an event to be cherished and savored. The calming ritual and lively conversation is the ultimate indulgence that has not changed for polished society for four hundred years.
The tale of tea is a captivating story revealed in A Social History of Tea, a new expanded second edition by British tea authority Jane Pettigrew and American tea historian Bruce Richardson. Originally published in 2001 by The National Trust, this new edition has been revised and expanded and includes the research of two tea authorities from both sides of the pond. We are so internationally bipartisan these days—I am sure that mad King George III must be rolling in his grave! Continue reading
From the desk of Br. Paul Byrd, OP:
Is there, as an English teacher, anything more intimidating and yet thrilling than teaching Shakespeare? He is, after all, the one author whose works are thought essential to a “good education.” But having just finished a three week unit on Macbeth, I am confident only that I have invited my students to the conversation about Shakespeare’s greatness; I’ve yet to really convert them. In Living with Shakespeare, Susannah Carson–who previously compiled the excellent essay collection in praise of Jane Austen entitled A Truth Universally Acknowledged–brings the conversation about Shakespeare to a whole new level by presenting over forty extraordinary voices in dialogue about their connections to Shakespeare. Carson writes “I’ve attempted to bring together as many perspectives as possible, not in order to be exhaustive–but to celebrate the many different approaches to appreciating Shakespeare that there are possible” (xvii). To that end, there are actors and directors, writers and professors, united in a chorus of myriad accents all acclaiming the undisputed genius of the Bard.
Not surprisingly, some may find reading Living with Shakespeare to be as intimidating as studying the plays themselves. However, although many of the essays are heavyweight academic or professional reflections, there are others that are much more accessible to the general reader, including those readers who are more interested in learning what their favorite graphic novelist (say Matt Sturges) or their favorite film star (say James Franco) has to say about his relationship to Shakespeare than they are about discovering the glories of the dramatic masterpieces themselves. Accordingly, I think this volume equally suitable for the well-stocked library as the classroom or college library. Continue reading