Welcome to Sanditon, an 1819 Regency seaside community in Sussex England—the fictional site of the new ITV/PBS television adaptation/continuation of Jane Austen’s final unfinished novel.
For those who are watching the eight-part series currently airing in the US on PBS, The World of Sanditon, by Sara Sheridan will be catnip to heighten your addiction. A copiously illustrated behind the scenes look at the making of the new television series, it also is filled with a biography of Jane Austen, historical information on the era, seaside life and health resorts, and Regency life for women.
In addition, there are spotlights on the characters and interviews with the actors who brought them to the screen. Here is a description of the book from the publisher Grand Central Publishing, details on the content, and images from the production for your enjoyment.
Sanditon, the final novel Austen was working on before her death, has been given an exciting conclusion and will be brought to a primetime television audience on PBS/Masterpiece for the very first time by Emmy and BAFTA Award-winning screenwriter Andrew Davies (War & Peace, Mr. Selfridge, Les Misérables, Pride and Prejudice).
This, the official companion to the Masterpiece series, contains everything a fan could want to know. It explores the world Austen created, along with fascinating insights about the period and the real-life heartbreak behind her final story. And it offers location guides, behind the scenes details, and interviews with the cast, alongside beautiful illustrations and set photography.
CONTENTS: Continue reading
Today is #JaneAustenDay, marking the online celebration of her birthday. Born on a stormy night in 1775, she was the seventh child of Rev. George Austen and his lady Cassandra of Steventon, Hampshire. Her modest beginning stands in strong contrast to her international fame today. In observance, I am participating in a blog tour organized by TLC Blog Tours for a new Austen book worthy of your consideration, The Lost Books of Jane Austen.
Scholar Janine Barchas and I share a passion for Jane Austen and book collecting. In the early 1990s, I started my search for illustrated editions of Jane Austen’s novels, while she was hunting for the early inexpensive editions of Austen’s works that were marketed to Britain’s working-class folk. At the time I was actively collecting I was unaware of this niche of Austen’s novels, and until I read the description of this book, I did not know that they existed. However, Barchas presents the important story of these forgotten books in The Lost Books of Jane Austen, a heavily illustrated and informative new book for Jane Austen fans, book collectors, graphic artists, and Anglophiles.
Chronicling the print history of a classic author through the nineteenth century could be a very dry enterprise and more scholarly than the general reader could fathom. I am happy to share that there is much to celebrate and enjoy for all levels of readers in The Lost Books of Jane Austen. Barchas knows her audience, and like a skilled playwright, screenwriter, or novelist she starts off her exploration with a snappy opening line. ”Cheap books make authors canonical.” Zing! Continue reading
In Jane Austen’s novels, we discover the plight of younger sons who because of the English primogeniture laws, could not inherit their father’s estate and must find their own way in the world. Colonel Fitzwilliam in Pride and Prejudice and Henry Tilney in Northanger Abbey come immediately to mind. This father to first son inheritance tradition is the axis of the social structure of British society and is tightly bound to its restrictions. Historian Rory Muir explores this dilemma and the courses available to younger sons in his new history book, Gentlemen of Uncertain Fortune: How Younger Sons Made Their Way in Jane Austen’s England. Using Austen’s characters, her own family, and historical figures as examples, we are taken on a journey through the era to discover what options were available to younger sons of “good families” to find an acceptable profession and earn an independent living.
A portrait of Jane Austen’s England told through the career paths of younger sons—men of good family but small fortune.
In Regency England, the eldest son usually inherited almost everything while his younger brothers, left with little inheritance, had to make a crucial decision: what should they do to make an independent living? Rory Muir weaves together the stories of many obscure and well-known young men, shedding light on an overlooked aspect of Regency society. This is the first scholarly yet accessible exploration of the lifestyle and prospects of these younger sons. Continue reading
From the desk of Tracy Hickman:
The subtitle for Robert Morrison’s history of Regency Great Britain, “during which Jane Austen writes, Napoleon fights, Byron makes love, and Britain becomes modern,” hints at the variety and diversity within its pages. In contrast to Jane Austen’s tightly focused fiction, famously self-described as “three or four families in a country village,” Morrison widens his lens to present extensive information and detail about Regency life that illuminates not only Austen’s world but our current time.
Morrison begins with a brief sketch of George Augustus Frederick, eldest son of George III and Queen Charlotte, in the book’s prologue. “The deep contradictions in the Regent’s character both energized and undermined him and were evident from an early age.” (3) With a string of mistresses, a secret and unlawful marriage to a Roman Catholic widow, an officially sanctioned marriage that was an abysmal failure, and the financial means to indulge every whim and fleeting inclination, the Regent was a constant feature of gossip and scandal during his lifetime. In 1812 he assumed the full authority of the crown, making him “not only the most powerful man in Britain but also the man at the head of the wealthiest, strongest, most ambitious, vibrant and productive country in the world.” (6)
This print by George Cruikshank, was published on December 4, 1819, and is entitled “Loyal Address’s & Radical Petetions, or the R____ts most gracious answer to both sides of the question at once.” (48)
From the desk of Stephanie Barron:
PARANOIA RUNS DEEP
From the moment I saw the title of Sue Wilkes’s latest book, Regency Spies (Pen & Sword Books, 2015), I was desperate to get my hot little hands on a copy. In a distant chapter of my life I was trained in espionage by the CIA, and I have a habit of inventing spies in my Jane Austen novels—most of them working nefariously on behalf of Bonaparte, but a few ready to die for King and Country. There’s a paucity of scholarly data on tradecraft, recruitment, and spy running during Jane Austen’s heydey, as Lauren Willig’s fictional Eloise discovers in the absorbing adventures of the Pink Carnation. A century ago, Baroness Orczy handed us the consuming history of the Scarlet Pimpernel and forever transformed our sense of the French Revolution. (Can there be any pleasure greater than tucking oneself up in bed with a soothing drink and a copy of one of these books on a stormy night?) Patrick O’Brian channeled the Secret Funds of the Admiralty’s Sir Joseph Banks into the hands of his irascible polymath Stephen Maturin, who collected intelligence wherever his voyages with Jack Aubrey took him; but O’Brian failed to detail his sources at the back of his marvelous novels.
Perhaps, like me, he had none.
So I was eager to discover what Ms. Wilkes had to share with the world.
I confess to a moment of dismay when I opened Regency Spies. As Georgette Heyer’s character Freddie Standen often observes, “I never knew a more complete take-in!” And as is so often the case with poor Freddie, the fault lay with me, not with Ms. Wilkes. I assumed that by Regency spies, she referred to dashing men in cravats and pantaloons, fencing the despicable minions of Napoleon on behalf of the Crown. In fact, Regency Spies is an impeccably researched and scholarly record of the informants recruited, generally by the British Home Office but also by local militias and constabularies, to report on the seditious conspiracies of their fellow Englishmen. Continue reading
Captain Ross Poldark in His Majesty’s 62nd Regiment of Foot regimentals (c) 2015 Mammoth Screen, Ltd for Masterpiece PBS
Getting the historical details correct is so critical in period drama today. Gone are the days when Greer Garson could wear a hoop skirt in the 1940 Pride and Prejudice and get away with it. The production team of the new BBC/PBS Poldark, at Mammoth Screen Ltd., have stepped up to the mark depicting late eighteenth-century Cornwall, warts and all. Advising them in this monumental task is lecturer, author and historian Hannah Greig who joins us today to answer a few questions about her role in the production of Poldark and the historical context that it is set in.
An illustration “A Beauty in Search of Knowledge” derived from a print by John Raphael Smith, 1782 (c) British Library
LAN: Welcome Hannah. One has visions of historians entrenched in musty library stacks secretly pining for their favorite reference librarian! Besides teaching and writing, you have carved out an interesting niche as Historical Advisor for films, television and theatre. This seems like a very glamorous job. Can you share with us what your duties are, what a typical day would be like, and what kind of questions are asked by the production team? Continue reading
One of the things I look forward to in period dramas is the costuming. For years we have been treated to fashionable Regency-era finery in Jane Austen adaptations, but the new Masterpiece Classic series Poldark takes us into an earlier era in British history. Set in 1780’s provincial Cornwall, the main plot line revolves around the Poldark family, their neighbors and their tenants—supplying an array of characters from different social classes. Curious about the late Georgian clothing in Poldark, I asked costume designer Marianne Agertoft to joins us today for a Q & A.
LAN: Welcome Marianne.
MA: Hi Laurel Ann. Thank you so much for your interest in the costumes for Poldark.
It was a great and passionate journey for all of us in the costume team and it is wonderful that the work is being appreciated.
Portrait of Captain George K. H. Coussmaker by Joshua Reynolds (1782)
LAN: From a layman’s point of view, being a costume designer looks like a very glamorous job. You get to spend your day being creative, researching history, playing with fabric, and working with celebrities! Can you share with us what your typical day was like while working on the costumes for Poldark? 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 Tracy Hickman:
The Grove was a large country house and estate in Chiswick, England owned by Humphrey Morice, the son a highly successful London merchant and slave trader. Morice was an animal lover, and in contrast to the common practices of his day, did not destroy animals that were unable to work any longer. He kept a number of horses, dogs, and other animals at Grove House, causing many of his contemporaries to consider him an eccentric.
The main attraction of Life in an Eighteenth-Century Country House is the series of letters written by head groom Will Bishop to Morice during his stay in Italy from 1782-1785. Bishop wrote regularly to his employer, sending detailed accounts of all the bills for the house and stables for Morice’s approval. This was unusual, as most estate owners employed a “man of business” to handle these matters. As head groom, Bishop was mostly concerned with the welfare of the animals of the estate and wrote extensively about them, especially those that were unwell. He also kept Morice abreast of the personal lives of the staff, recounting their illnesses and conflicts with other workers, as well as general news about local people Morice would have known. One of my favorites was the “he said, she said” battle in the kitchen between the cook and stable lads: Continue reading
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 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 Laurel Ann Nattress:
Commissioned by the producers of the new movie Belle, acclaimed biographer Paula Byrne aims to reveal the true story behind the main characters in the movie: Dido Elizabeth Belle, the illegitimate daughter of a captain in the Royal Navy and an African slave, and her great-uncle, William Murray, 1st Earl of Mansfield (1705-93) and Lord Chief Justice of the King’s Bench. Belle: The Slave Daughter and the Lord Chief Justice is both a companion volume to the popular movie and a time capsule into the turbulent abolition movement in late eighteenth-century England.
Inspired by the 1779 portrait of Dido and her cousin Lady Elizabeth Murray, screenwriter Misan Sagay has written a compelling story based on facts she first learned of while visiting the 2007 Slavery and Justice Exhibition. Dido and Elizabeth were Lord Mansfield’s wards and raised together at Caen Wood House, now known as Kenwood House on Hampstead Heath near London. While the screenplay is based on actual facts, it also incorporates a fictional narrative worthy of a seventh Jane Austen novel. In contrast, Belle: The Slave Daughter and the Lord Chief Justice is a historical account of the people and times and not a novelization of the movie. Continue reading