From the desk of Tracy Hickman:
Was Jane Austen a radical? Was she sympathetic to the “radical reforms” of Charles James Fox and others that included universal male suffrage, the abolition of slavery, and women’s rights? Few would readily place her in the company of Thomas Paine, William Godwin, or Mary Wollstonecraft, but perhaps that is because she kept her dangerous views so well hidden that most of her contemporaries, as well as later generations, have missed them. While I began reading Jane Austen, The Secret Radical with an open but somewhat skeptical mind, I was curious to see what evidence Helena Kelly would provide. In Chapter 1, she throws down the gauntlet:
We’re perfectly willing to accept that writers like [William] Wordsworth were fully engaged with everything that was happening and to find the references in their work, even when they’re veiled or allusive. But we haven’t been willing to do it with Jane’s work. We know Jane; we know that however delicate her touch she’s essentially writing variations of the same plot, a plot that wouldn’t be out of place in any romantic comedy of the last two centuries.
We know wrong. (4%)
Kelly cites a number of reasons for what she calls the misreading of Austen, including a lack of reliable biographical information about Austen, the destruction of most of her letters by her sister Cassandra, and a concerted effort by surviving family members to reframe Jane’s life and creative endeavors along more conventional and non-threatening lines. Delays in the publication of her early works obscured themes that were rooted in the upheavals of the French Revolution and the literary phenomenon of the Gothic novel. Add to these the many film adaptations and biopics that have nearly overtaken the original novels in the consciousness of the current age:
When it comes to Jane, so many images have been danced before us, so rich, so vivid, so prettily presented. They’ve been seared onto our retinas in the sweaty darkness of a cinema, and the aftereffect remains, a shadow on top of everything we look at subsequently. (10%) Continue reading