Preview of Cranford, by Elizabeth Gaskell (Oxford World’s Classics) New Edition

Cranford, by Elizabeth Gaskell (Oxford World's Classics) 2011We have several of Oxford World’s Classics editions in our library and are quite partial to their expanded editions. From Austen to Radcliffe to Burney to Gaskell, whatever they take on, their introductions and supplemental material are excellent.

The news of this new revised paperback edition of Elizabeth Gaskell’s Cranford is quite exciting. Due out on June 9, 2011 in the UK and August 15, 2011 in the US from Oxford University Press, it will include a new introduction, notes and additional supplemental material. We are quite certain that our friend Katherine at Gaskell Blog will also be anxious to get her mits on it too. Here is a description from the publisher:

A vivid and affectionate portrait of a provincial town in early Victorian England, Elizabeth Gaskell’s Cranford describes a community dominated by its independent and refined women. This edition includes two related short pieces by Gaskell, “The Last Generation in England” and “The Cage at Cranford.” Dinah Birch’s introduction reflects recent revaluations of Gaskell’s work and the growing recognition that Cranford is much more than the gently charming comedy that is was once taken to be. The book includes an up-to-date bibliography and expanded notes.

Features

  • A new edition of a much-loved classic, Elizabeth Gaskell’s comic portrayal of a Victorian small town dominated by women.
  • Dinah Birch’s introduction reflects recent revaluations of Gaskell’s work, focusing on Gaskell’s response to social change as it transformed the lives of provincial women, and the growing recognition that Cranford is much more than the gently charming comedy that is was once taken to be.
  • Includes two related short stories, ‘The Cage at Cranford’ and ‘The Last Generation in England’.
  • An appendix includes a selection of extracts from Dickens, Dinah Craik, Wilkie Collins, Ruskin and other contemporary novelists and social commentators on the coming of the railway, banking failures, household management, fashion, Oriental entertainers and the novel’s first reviewers to illustrate the diverse contexts in which Cranford took its place.
  • Up-to-date bibliography and expanded notes.
  • Introduction by Dinah Birch.
  • Up–to-date bibliography.
  • Revised chronology.
  • Explanatory Notes by Dinah Birch.
  • Appendix of contemporary responses to the novel and contemporary comment on household management, costume, financial and commercial controversies relevant to the text.
  • Reset Gaskell text.

Product Details

Cranford, by Elizabeth Gaskell (Oxford World’s Classic)
Oxford University Press (June 9, 2011 in UK) (Aug 15, 2011 in US)
Trade paperback (256) pages
ISBN:  978-019955830

About the editors

Elizabeth Porges Watson is Lecturer in English at the University of Nottingham. Dinah Birch is Professor of English Literature at the University of Liverpool.

Many of you may be familiar with the story of Cranford from the two BBC/PBS mini-series starring Judi Dench, Eileen Atkins and an incredible British cast. It was a delightful adaptation of Gaskell’s short stories and we encourage you to read our reviews and seek out this new edition of the novel when it is released in August. Mrs. Gaskell’s characterizations are humorous, charming and poignant, and we are very pleased to see her being given this new edition which appears to be quite thorough in scholarly research and engaging detail.

© 2007 – 2011 Laurel Ann Nattress, Austenprose

Austen Book Sleuth: New Books in the Queue for September

According to Jane, by Marilyn Brant (2009)The Jane Austen book sleuth is happy to inform Janeites that many Austen inspired books are heading our way in September, so keep your eyes open for these new titles.  

Fiction (prequels, sequels, retellings, variations, or Regency inspired) 

According To Jane, by Marilyn Brant 

Here is a bright new face on the Austen sequel/inspiration market. In this contemporary novel, Jane Austen’s ghost inhabits teenage Ellie Barnett’s thoughts, guiding her through all of life’s romantic and unromantic dilemmas. Since we all know that Auntie Jane never steered any of her heroines in the wrong direction, Ellie has excellent advice, or does she?  (Publisher’s description) It begins one day in sophomore English class, just as Ellie Barnett’s teacher is assigning Jane Austen’s “Pride and Prejudice”. From nowhere comes a quiet ‘tsk’ of displeasure. The target: Sam Blaine, the cute bad boy who’s teasing Ellie mercilessly, just as he has since kindergarten. Entirely unbidden, as Jane might say, the author’s ghost has taken up residence in Ellie’s mind, and seems determined to stay there. Jane’s wise and witty advice guides Ellie through the hell of adolescence and beyond, serving as the voice she trusts, usually far more than her own. Years and boyfriends come and go – sometimes a little too quickly, sometimes not nearly fast enough. But Jane’s counsel is constant, and on the subject of Sam, quite insistent. Stay away, Jane demands. He is your Mr. Wickham. Still, everyone has something to learn about love – perhaps even Jane herself. And lately, the voice in Ellie’s head is being drowned out by another, urging her to look beyond everything she thought she knew and seek out her very own, very unexpected, happy ending. Kensington. ISBN: 978-0758234612 

Darcy and Anne, by Judith Brocklehurst (2009)Darcy and Anne: It is a truth universally acknowledged that Lady Catherine will never find a husband for Anne, by Judith Brocklehurst

Another Pride and Prejudice sequel which I am I happy to say is focused on the emancipation of Miss Anne de Bourgh, a minor character who sorely deserved a make-over. (Publisher’s description) It is a truth universally acknowledged that Lady Catherine will never find a husband for Anne. When a fortuitous accident draws Anne away from Rosings and her overbearing mother’s direct influence, she is able to think and act for herself for the first time ever. In the society of her cousins Darcy and Georgiana, and, of course, the lively Mrs. Darcy, Anne reveals a talent for writing and a zest for life. Meanwhile, Lady Catherine is determined to choose a husband for Anne. But now that Anne has found her courage, she may not be so easy to rule. Anne de Bourgh is a sympathetic character whose obedience and meekness were expected of women in her day. As she frees herself from these expectations, Anne discovers strength, independence, and even true love in a wonderfully satisfying coming-of-age story. Sourcebooks Landmark. ISBN: 978-1402224386

Murder at Longbourn, by Tracy Kiely (2009)Murder at Longbourn: A Mystery, by Tracy Kiely 

Ready for a cozy mystery with a Pride and Prejudice theme? This debut novel by Tracy Kiely just might do the trick. Set in contemporary Cape Code, her Elizabeth Parker is as clever, witty and spirited as Jane Austen’s original Lizzy Bennet, but in addition to dealing with her love life, she is in the throws of a murder. (Publisher’s description) Planning New Year’s resolutions to rid her life of all things unhealthy, Elizabeth Parker has dumped fatty foods, processed sugar, and her two-timing boyfriend. Indeed, the invitation to join her Aunt Winnie for a How to Host a Murder Party on New Year’s Eve at Winnie’s new Cape Cod B and B comes just in time. But when the local wealthy miser ends up the unscripted victim, Elizabeth must unearth old secrets and new motives in order to clear her beloved aunt of suspicion. The suspects include the town gossip, a haughty rich woman, and an antiques business owner much enamored of his benefactress, a Mrs. Kristell Dubois. If that isn’t bad enough, Elizabeth must also contend with her childhood nemesis, Peter McGowan—a man she suspects has only matured in chronological years—and her suspicions about his family’s interest in Winnie’s inn. Minotaur Books. ISBN: 978-0312537562 

Darcy's Temptations, by Regina Jeffers (2009)Darcy’s Temptation: A Sequel to Jane Austen’s Pride and Prejudice, by Regina Jeffers 

Ah, Mr. Darcy. We can never get enough of him. In this creative Pride and Prejudice sequel, Darcy has lost his memory and has an adventure without Lizzy. Oh my! (Publisher’s description) By changing the narrator, Darcy’s Temptation turns one of the most beloved literary love affairs of all time on its head, even as it presents new plot twists and fresh insights into the characters’ personalities and motivations. The author faithfully applies Jane Austen’s fun-to-read style, suspenseful narrative, and sardonic humor to her own imaginative tale of romantic entanglements and social intrigue. Four months into the new marriage, all seems well when Elizabeth discovers she is pregnant. However, a family conflict that requires Darcy’s personal attention arises because of Georgiana’s involvement with an activist abolitionist. On his return journey from a meeting to address this issue, a much greater danger arises. Darcy is attacked on the road and, when left helpless from his injuries, he finds himself in the care of another woman. Ulysses Press. ISBN: 978-1569757239 

My Cousin Caroline: The Pemberley Chronicles No 6, by Rebecca Collins (2009)My Cousin Caroline: The Pemberley Chronicles Book 6, by Rebecca Collins 

You’ve got to hand it to author Rebecca Collins. She is one creative and persistent Janeite pumping out Pride and Prejudice continuations in rapid fire. Actually, she wrote the ten book series over several years. We are just now fortunate to have international publication through Sourcebooks. My Cousin Caroline is the sixth filly out of the gate in The Pemberley Chronicles series. (Publisher’s description) Mr. Darcy’s cousin Colonel Fitzwilliam and Elizabeth’s cousin Caroline Gardiner take center stage. The daughter of Mr. and Mrs. Gardiner, Caroline develops from a pretty young girl into a woman of intelligence and passion, embodying some of Austen’s own values. Mr. Darcy, Elizabeth, Jane, Mr. and Mrs. Bennett, and the Wickham’s all move through the story as Caroline falls in love, marries, and raises her children. Caroline rejects the role of a compliant Victorian wife and mother, instead becoming a spirited and outspoken advocate of reformist causes in spite of the danger of scandal. Caroline’s advocacy of reform, undaunted by criticism, demonstrates strength in a time when a woman’s role was severely restricted. Sourcebooks Landmark. ISBN: 978-1402224317 

Waiting for Mr. Darcy, by Chamein Canton (2009)Wating for Mr. Darcy, by Chamein Canton 

The description of this book just made me smile. For all you ladies of a certain age waiting for Mr. Darcy to knock on your door, this book will both charm and inspire you. The author’s advice – “Open your eyes and your heart. He may be closer than you think.” (Publisher’s description) Three friends over forty still wait for Prince Charming in the form of their favorite Austen character, Mr. Darcy. Not quite ready to turn in their hot chick cards for the hot flashes of menopause, they’d like to find a man who is charming, smug, intelligent and cute to share the primes of their lives with (even if one of them doesn’t know she’s looking). Together they navigate this brave forty-plus world and find out that Mr. Darcy is closer than they think. Genesis Press. ISBN: 978-1585713516 

Austen’s Oeuvre 

Jane Austen: The Complete Novels (Collector's Library Edition) 2009Jane Austen: The Complete Novels (Collector’s Library Editions), by Jane Austen, illustrated by Hugh Thomson 

Oh yum! 720 pages of all Austen all the time and with colorized Hugh Thomson illustrations. What greedy Janeite could ask for more? (Publisher’s description) This title includes more than two hundred full colour illustrations by Hugh Thomson. All Jane Austen’s novels are presented in one volume. It features Jane Austen’s romantic world captured by her finest illustrator, Hugh Thomson. It also includes Thomson’s beautiful and evocative illustrations hand-coloured by Barbara Frith, one of Britain’s finest colourists. Barbara Frith’s renderings of Hugh Thomson’s illustrations have won the approval and commendation of both Jane Austen’s House Museum at Chawton and The Jane Austen Centre in Bath. This title contains extended biographical note and accompanying bibliography. It is presented in page size 270mm X 210mm; 720 pages; printed laminated case and dust jacket. CRW Publishing Limited. ISBN: 978-1905716630 

Nonfiction 

Reading Jane Austen, by Mona Scheuermann (2009)Reading Jane Austen, by Mona Scheuermann 

I just love Austen scholars. They keep pumping out treatise after treatise in the pursuit of the Holy Grail of Austen scholarship. This one springs from Austen as a moral barometer of her times. Jane Austen’s grand niece Mary Augusta Austen-Leigh wrote a biography of her great aunt admonishing those who thought Austen’s novels were written as moral lessons. Best that she avert her eyes on this one. (Publisher’s description) Reading Jane explores Mansfield Park, Pride and Prejudice, Emma, and Persuasion against their historical and cultural backdrop to show precisely how Jane Austen sets out the core themes of British morality in her novels. Austen’s period was arguably the most socially and politically tumultuous in England’s history, and by replacing the novels in this remarkable era, Scheuermann sharply defines Austen’s view of the social contract. Palgrave Macmillan. ISBN: 978-0230618770 

Austen’s Contemporaries 

A Simple Story (Oxford World's Classics), by Elizabeth Inchbald (2009)A Simple Story (Oxford World’s Classics), by Elizabeth Inchbald 

Elizabeth Inchbald, née Simpson (1753 – 1821) was an English novelist, actress, and dramatist who may be most famously remembered for her play Lover’s Vows which Jane Austen featured in her novel Mansfield Park. Both ladies wrote during the same time period, but their personalities and lifestyles appear complete opposites of each other. Austen lived quietly in the country and wrote about the country gentry she experienced, while Inchbald was an active performing actress touring Great Britain, writing plays and novels gently influenced by her radical political beliefs and desire of personal independence. A Simple Story is one of two novels she wrote. (Publisher’s description) When Miss Milner announces her passion for her guardian, a Catholic priest, she breaks through the double barrier of his religious vocation and 18th-century British society’s standards of proper womanly behavior. Like other women writers of her time, Elizabeth Inchbald concentrates on the question of a woman’s “proper education,” and her sureness of touch and subtlety of characterization prefigure Jane Austen’s work. Oxford University Press USA. ISBN: 978-0199554720 

Lord Byron Selected Poetry (Oxford World's Classics), by Lord Byron (2009)Lord Byron Selected Poetry (Oxford World’s Classics), by Lord Byron 

“I have read Corsair, mended my petticoat, & have nothing else to do.” Jane Austen in a letter to her sister Cassandra, 8 March 1814 

George Gordon Byron, 6th Baron Byron, of Rochdale, (1788 – 1824) was a British poet and a prominent figure in the Romantic Movement. It is no surprise that Jane Austen mentions reading The Corsair in an 1814 letter to her sister Cassandra. As a writer also strongly interested in poetry, she would be keenly interested in new works. Byron was wildly acclaimed as a poet and scandalous social figure. His reputation as “mad, bad and dangerous to know” came from his well publicized affair in 1812 with the married Lady Caroline Lamb. Austen would later mention Lord Byron along with Mr. Scott in her novel Persuasion, as an example of superior writers when her characters Anne Elliot and Captain Benwick discuss literature and poetry. This reprint of his selected poetry by Oxford was edited, introduced, and noted by Jerome J. McGann, John Stewart Bryan Professor of English, University of Virginia. (Publisher’s description) Lord Byron was a legend in his own lifetime and the dominant influence on the Romantic movement. His early fame came in 1812 after the publication of Childe Harold. Relishing humor and irony, daring and flamboyancy, sarcasm and idealism, his work encompasses a sweeping range of topics, subjects, and models, embracing the most traditional and the most experimental poetic forms. This selection of Byron’s works includes such masterpieces as The Corsair, Manfred, Bebbo, Don Juan and Childe Harold’s Pilgrimage. Oxford University Press, USA. ISBN: 978-0199538782 

Movie Adaptations 

Sense and Sensibility, BBC Miniseries (1971)Sense and Sensibility (1971) 

This elusive and never before aired in the US miniseries of Sense and Sensibility produced by the BBC in 1971 will be available on DVD on September 29th. Staring Joanna David (Mrs. Gardiner in P&P 95) as Elinor Dashwood and Ciaran Madden as Marianne Dashwood, this three hour miniseries should be a treat for Austen enthusiast in the US who have only heard tales of its existence. Its reappearance on the video scene now requires a re-numbering of Sense and Sensibility movie adaptations, since the 1981 version had been considered the first available – with no hope that this could ever resurface. Now, if the 1967 BBC Pride and Prejudice miniseries pops out of the vault, the fan numbering system will have to be re-mastered also. Special features include: Audio Commentary, deleted Scenes, interviews, outtakes and photo gallery. BBC Warner. UPC: 883929081202 

Until next month, happy reading! 

Laurel Ann

Jane Austen Selected Letters (Oxford World’s Classics) – A Review

Jane Austen Selected=“You deserve a longer letter than this; but it is my unhappy fate seldom to treat people so well as they deserve.” Jane Austen, 24 December 1798 

Jane Austen’s personal correspondence has stirred up controversy since her untimely death in 1817 at age 41. The next year her brother Henry Austen wrote in the ‘Biographical Notice of the Author’ included with the publication of her novels Northanger Abbey and Persuasion that she ‘never dispatched a note or a letter unworthy of publication’. Years later, a niece Caroline Austen did not agree, ‘there is nothing in those letters which I have seen that would be acceptable to the public.’ In comparison to her published works, the letters do dwell upon ‘little matters’ of domestic life in the county, but to the patient reader we begin to understand Austen’s life and experiences beyond the minutia and realize through her clever descriptions and acerbic observations how this simple parson’s daughter became the author of novels that are so valued and cherished close to 200 years after their publication. 

This reissue by Oxford University Press of their 2004 edition of Jane Austen Selected Letters is more than worthy of a second printing. Not only does it include two thirds of the known surviving letters and a thoughtful introduction by scholar Vivien Jones chronicling the history of the letters stewardship with the family, its supplemental material alone makes it an incredible value for the price. As with the other Oxford World’s Classics of Austen’s major and minor works that have been reissued this past year, it includes a brief biography, notes on the text, a select bibliography, a chronology of Jane Austen’s life, and explanatory notes. Unique to this edition, and by far the highlight are the glossary of people and places and the detailed index for quick reference. 

For students and Austen enthusiast seeking a compact edition in comparison to the comprehensive and hefty Jane Austen’s Letters edited by Deirdre Le Faye, this reissue is a sleek and densely informative package. Usually I abhor abridged editions of anything, but in this instance we are given an excellent selection of letters and a lively introduction at less than a third of the price of its competitor. In this economy, I say better and better.   

4 out of 5 Regency Stars 

Jane Austen Selected Letters (Oxford World’s Classics)
Selected, introduced and notes by Vivien Jones
Oxford University Press, USA (2009)
ISBN: 978-0199538430

Jane Austen Book Sleuth: New Books in the Queue for February 2009

A Novel, by Elizabeth Ashton (2009)The Jane Austen book sleuth is happy to inform Janeites that Austen inspired books are heading our way in February, so keep your eyes open for these new titles. 

Fiction (prequels, sequels, retellings, variations, or Regency inspired)  

Mr. Darcy’s Dream: A Novel. Elizabeth Aston continues with her sixth novel of the entertaining exploits of the Darcy family post Pride and Prejudice. (publishers description) This time out Mr. Darcy’s young niece Phoebe is shattered by an unhappy romance, and retreats to Pemberley and is joined by kind-hearted cousin Louisa Bingley, unmarried after three London seasons. Once the young ladies are situated in the house, several handsome strangers also arrive — all hopeful of winning the girls’ hearts. As preparations for the ball which Mr. and Mrs. Darcy are to give at Pemberley gain momentum, mischief and love triangles abound, making life as difficult as possible for anyone connected with the Darcy family. Touchstone. ISBN: 978-1416547266. Early review by Christina Boyd  at Amazon

Jane Austen Ruined My Life, by Beth Patillo (2009)Jane Austen Ruined My Life, by Beth Pattillo. Not a sequel, but a contemporary adventure comedy inspired by Jane Austen’s life. (publishers description) English professor Emma Grant is denied tenure in the wake of a personal scandal and left penniless by the ensuing divorce. Emma packs up what few worldly possessions she has left and heads to England on a quest to find the missing letters of Jane Austen. Locating the elusive letters, however, isn’t as straightforward as Emma hoped. The owner of the letters proves coy about her prize possessions, sending Emma on a series of Austen-related tasks that bring her closer and closer to the truth, but the sudden reappearance of Emma’s first love makes everything more complicated. Guideposts Books. ISBN: 978-0824947712. Early review by Vic (Ms. Place) at Jane Austen’s World

Pride and Prejudice Retold Through His Eyes, by Regina Jeffers (2009)Darcy’s Passions: Pride and Prejudice Retold Through His Eyes, by Regina Jeffers. A retelling of Pride and Prejudice from the perspective of the hero Fitzwilliam Darcy. If you’re thinking that this angle does not sound new, of course you are correct. A quick count at Amazon reveals five books based on the same premise (and I’m sure there are more). It’s intriguing that authors keep trying to top the last effort, so we shall see if she succeeded. (publishers description) Witty and amusing, this novel captures the original style, themes and sardonic humor of Jane Austen’s novel while turning the entire story on its head in a most engaging and entertaining fashion. Darcy’s Passions tells the story of Fitzwilliam Darcy and his obsession with the most impossible woman-Elizabeth Bennet. Ulysses Press. ISBN: 978-1569756997. Reviews of the self published edition from 2008 at Amazon.  

Love, Lies and Lizzie, by Rosie Rushton (2009)Love, Lies and Lizzie (Jane Austen in the 21st Century), by Rosie Rushton. In her fourth in the series of young adult Austen novels, author Rosie Rushton continues retelling Jane Austen’s stories as she takes the famous Pride and Prejudice and reimagines what might have happened if Lizzie Bennet and her sisters had been teenagers in the 21st century. If you enjoyed her previous Austen inspired novels Summer of Secrets, Secrets of Love, Secret Schemes, Daring Dreams, and The Dashwood Sisters Secrets of Love then you should check this one out too. (author quote)  “Find out what the devious George Wickham, the lush Darcy and the ghastly Drew Collins do to wreck the lives of the Bennet sisters – and let me know what you think about my new ending!” Piccadilly Press Ltd, ISBN: 978-1853409790  

The Convenient Marriage, by Georgette Heyer (2009)The Convenient Marriage, by Georgette Heyer. Not Jane Austen, but darn close. Even thirty five years after her death, no one has come close to matching Heyer’s unique and engaging style at the Regency era comedy/romance. Sourcebooks continues in their quest to republish this worthy author and introduce her to a whole new generation of readers. (publishers description) Horatia Winwood is a plain girl with a stutter. When she rescues her sister from an undesired marriage to the Earl of Rule by proposing to him herself, he is thoroughly impressed by her spirit and enjoys watching her take the ton by storm. When Rule’s archenemy, Sir Robert, tries to kiss Horatia, she spurns his advances, and in the ensuing scuffle loses an heirloom brooch. Horatia’s brother’s hare-brained scheme to recover the brooch fails, and then the Earl himself must step in, challenging Sir Robert in a swordfight that is Heyer at her most stirring. Sourcebooks, Casablanca. ISBN: 978-1402217722. Review by  Geranium Cat’s Bookshelf.

Nonfiction 

Bloom's Modern Critical Views (2009)Bloom’s Jane Austen: Bloom’s Modern Critical Views, by Harold Bloom. The Bloom’s literary volumes have turned into a major resource on author lives and critical reception. I own the sister volume to this second edition, Bloom’s Jane Austen: Bloom’s Classical Critical Views and can attest that they are wonderful resources on opinions of Jane Austen. (publishers description) Putting her in elite company, Harold Bloom suggests Jane Austen will survive with the likes of William Shakespeare and Charles Dickens. Critical essays offer insight into Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. A part of our Bloom’s Major Novelists series, this volume is designed to present biographical, critical, and bibliographical information on the playwright’s best-known works. This series is edited by Harold Bloom, Sterling Professor of the Humanities, Yale University; Henry W. and Albert A. Berg Professor of English, New York University Graduate School; preeminent literary critic of our time. Titles include detailed plot summaries of the novel, extracts from scholarly critical essays on the novels, a complete bibliography of the writer’s novels, and more. Chelsea House Publications; New edition. ISBN 978-1604133974 

Austen’s Oeuvre 

Northanger Abbey Tantor Unabridged Classics (2009)Northanger Abbey Tantor Unabridged Classics. This unabridged audio book is read by Donada Peters, one of AudioFile magazine’s Golden Voices who has won over a dozen AudioFile Earphones Awards. Also included is a PDF eBook containing the full text.  (publisher’s description) When Catherine is invited to Northanger Abbey, the grand though forbidding ancestral seat of her suitor, Henry Tilney, she finds herself embroiled in a real drama of misapprehension, mistreatment, and mortification, until common sense and humor—and a crucial clarification of Catherine’s financial status—puts all to right. Written in 1798 but not published until after Austen’s death in 1817, Northanger Abbey is characteristically clearheaded and strong, and infinitely subtle in its comedy. Tantor Unabridged Classics. ISBN:  978-1400110780 

Austen’s contemporaries  

Belinda (Oxford World's Classics), Maria Edgeworth (2009)Belinda (Oxford World’s Classics), by Maria Edgeworth. Even though Jane Austen and Maria Edgeworth were never formally introduced, Austen admired the author so much that she sent a presentation copy of Emma to her in advance of its publication. Edgeworth did not return the complement saying “there is no story in it.” Belinda was originally published in 1801 and is offered in this nicely introduced and supplemented re-issue by OWP. (publishers description) The lively comedy of this novel in which a young woman comes of age amid the distractions and temptations of London high society belies the challenges it poses to the conventions of courtship, the dependence of women, and the limitations of domesticity. Contending with the perils and the varied cast of characters of the marriage market, Belinda strides resolutely toward independence. Admired by her contemporary, Jane Austen, and later by Thackeray and Turgenev, Edgeworth tackles issues of gender and race in a manner at once comic and thought-provoking. The 1802 text used in this edition also confronts the difficult and fascinating issues of racism and mixed marriage, which Edgeworth toned down in later editions. Oxford University Press. ISBN: 978-0199554683

  • Catch up on previous months of  the Austen book sleuth in the archive. 

Until next month, happy reading! 

Laurel Ann

The Sunday Salon: Preview of Oxford World’s Classics: The Mysteries of Udolpho by Ann Radcliffe: Day 16 Giveaway

Her present life appeared like the dream of a distempered imagination, or like one of those frightful fictions, in which the wild genius of the poets sometimes delighted. Reflection brought only regret, and anticipation terror. How often did she wish to “steal the lark’s wing, and mount the swiftest gale,” that Languedoc and repose might once more be hers! The Mysteries of Udolpho, Chapter 22

Welcome to The Sunday Salon as we discover new books and offer a review or two. Today as we continue to explore Jane Austen’s Northanger Abbey, I thought it quite timely of Oxford University Press to redesign and release their 1998 edition of Ann Radcliffe’s, The Mysteries of Udolpho during the Go Gothic with Northanger Abbey event here at Austenprose. Readers will kindly recall that it is one of the Gothic novels that character Isabella Thorpe recommends to her new impressionable friend, and our heroine in the making, Catherine Morland. After she quickly devours the book it ‘Gothicizes’ her view of the world, coloring her perception of real-life experiences. Having not read Udolpho myself, I am more than a bit curious about what it contains and have moved it to the top of my book queue on my nightstand. Here is an overview from the publisher’s description. 

A best-seller in its day and a potent influence on Austen, Sade, Poe, and other purveyors of eighteenth and nineteenth-century Gothic horror, The Mysteries of Udolpho remains one of the most important works in the history of European fiction. After Emily St. Aubuert is imprisoned by her evil guardian, Count Montoni, in his gloomy medieval fortress in the Appenines, terror becomes the order of the day. With its dream-like plot and hallucinatory rendering of its characters’ psychological states, The Mysteries of Udolpho is a fascinating challenge to contemporary readers. 

First published in 4 volumes by G. G. and J. Robinson of London in 1794, Mrs. Radcliffe was paid the handsome sum of £500 for her manuscript which would be worth approximately £28,015.00 today or about $44,580.06 in US funds. This amount is impressive, even for a modern day author. I dare say that Jane Austen would have been happy with that sum for her novel Northanger Abbey instead of the £10 that she originally received from Crosby & Co in 1803, only to see it languish on their shelves unpublished for six years before she bought it back. Happily, this novel did not experience such a winding publication history, was an immediate best seller, and has never been out of print. This edition includes an interesting and enjoyable introduction and explanatory notes by Terry Castle, an 18th-century literature authority and Professor of English Literature at Stanford University, textural notes, a select bibliography, and a chronology of Ann Radcliffe. Here is an excerpt from Prof. Castle’s introduction to entice you. 

Perhaps no work in the history of English fiction has been more often caricatured – trivialized, misread, remade as hearsay – than Ann Radcliffe’s late eighteenth-century Gothic classic The Mysteries of Udolpho. Some readers, indeed, will know Radcliffe’s novel only as hearsay: as that delightfully ‘horrid’ book – full of castles and crypts and murdered wives – pressed upon Catherine Morland, the gullible young heroine of Jane Austen’s Northanger Abbey (1817), by her Bath friend Isabella Thorpe. After consuming the book in a great reading binge, the impressionable Catherine begins to see the everyday world around her as a kind of Gothic stage-set against which friends and acquaintances metamorphose – absurdly – into outsized Radcliffean villains and victims. The results are amusing: Northanger Abbey remains one of the great spoofs on reading-as-hallucination. But Udolpho itself is mere pretext – the intertextural cliché, or thing already known, upon which Austen builds her chic comedy of misapprehension.  Prof. Terry Castle (vii)

Mayhap Ms. Castle neglected to remember some of Mr. Shakespeare’s works before she crowned Udolpho the most caricatured, trivialized or remade in the history of English literature — but I will overlook the slight! Udolpho is a significant literary achievement, remarkably innovative for its time and profoundly influential even today. It takes a “stout heart” and “nerves fit for sliding panels and tapestry” to tackle its 693 pages, and I plan to work away at it as I can over the next few months. I hope to be totally Gothicized!

Further reading

  • Read about The Mysteries of Udolpho by Ann Radcliffe
  • Read about authoress Ann Ward Radcliffe
  • Read about the ‘Northanger Canon’ at Jane Austen in Vermont
  • Read about the ‘Horrid’ novels in Northanger Abbey by James Jenkins
  • Read about the Long Publishing History of Northanger Abbey at Jane Austen’s World
  • Check out this biography on Ann Radcliffe, The Mistress of Udolpho, by Rictor Norton

 

Go Gothic with Northanger Abbey: DAY 16 Giveaway

Oxford Word’s Classics edition of The Mysteries of Udolpho (2008)

By Ann Radcliffe 

Oxford University Press (2008). The new re-designed edition includes a full unabridged text of The Mysteries of Udolpho, an introduction by Terry Castle and loads of great supplemental material. A nice compact medium sized edition with textural notes, biography and chronology on the author, and explanatory notes 

Leave a comment by October 30th to qualify for the free drawing on October 31st for one copy of The Mysteries of Udolpho (2008), by Ann Radcliffe

 (US residents only) 

Upcoming event posts
Day 17 – Oct 27          Guest Blog – Gothic Classics Volume 14
Day 18 – Oct 28          Group Read NA Chapters 25-28
Day 19 – Oct 29          NA & MU Resources
Day 20 – Oct 30          Group Read NA Chapters 29-31

Oxford World’s Classics: Northanger Abbey, Lady Susan, The Watsons and Sandition – Our Diptych Review

“Catherine, at any rate, heard enough to feel that in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty” The Narrator, Chapter 30 

Gentle readers, Please join us for the fifth in a series of six reviews of the revised editions of Jane Austen’s six major novels and three minor works that were released this summer by Oxford World’s Classics. Austenprose editor Laurel Ann is honored to be joined by Austen scholar Prof. Ellen Moody, who will be adding her professional insights to complement my everyman’s view.

Northanger Abbey, Lady Susan,The Watsons and Sandition

 by Jane Austen

Oxford World’s Classics (2008) 

Laurel Ann’s review 

Jane Austen’s Northanger Abbey is the novel that almost wasn’t. We know from Cassandra Austen’s notes that her sister Jane wrote it during 1798-1799, prepared it for publication in 1803, and sold it to publishers Crosby & Company of London only to never see it in print. It languished on the publisher’s shelf for six years until Austen, as perplexed as any authoress who was paid for a manuscript, saw it not published, and then made an ironical inquiry,  supposing that by some “extraordinary circumstance” that it had been carelessly lost, offering a replacement. In reply, the publisher claimed no obligation to publish it and sarcastically offered it back if repaid his 10 pounds. 

Seven more years pass during which Pride and Prejudice is published in 1813 to much acclaim, followed by Mansfield Park in 1814 and Emma in 1815, all anonymously ‘by a lady’. With the help of her brother Henry, Austen then buys back the manuscript from Crosby & Company for the same sum, for Crosby could not know this manuscript was written by a now successfully published and respected author and thus worth quite a bit more. Ha! Imagine the manuscript that would later be titled Northanger Abbey and published posthumously in 1818 might never have been available to us today. If its precarious publishing history suggests it lacks merit, I remind readers that ironically in the early 1800’s most viewed it as “only a novel“, whose premise its author and narrator in turn heartily defend. 

“And what are you reading, Miss – ?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best-chosen language.” The Narrator, Chapter 5 

If this statement seems a bit over the top, then you have discovered one of the many ironies in Northanger Abbey as Austen pokes fun at the critics who oppose novel writing by cleverly writing a novel, defending writing a novel. Phew! In its simplest form, Northanger Abbey is a parody of the Gothic fiction so popular in Austen’s day but considered lowbrow reading and shunned by the literati and critics. In a more expanded view it is so much more than I should attempt to describe in this limited space, but will reveal that it can be read on many different levels of enjoyment; — for its coming of age story, social observations, historical context, allusions to Gothic novels and literature, beautiful language and satisfying love story. 

Some critics consider Northanger Abbey to be Jane Austen’s best work revealing both her comedic and intellectual talents at its best. I always enjoy reading it for the shear joy of exuberant young heroine Catherine Morland, charmingly witty hero Henry Tilney and the comedy and social satire of the supporting characters. At times, I do find it a challenge because so much of the plot is based on allusions to other novels, and much of the story is tongue in cheek. Explanatory notes and further study have helped me understand so much more than just the surface story and I would like to recommend that all readers purchase annotated versions of the text for better appreciation. 

Oxford World’s Classic’s has just released their new edition of Northanger Abbey which is worthy of consideration among the other editions in print that include a medium amount of supplemental material to support the text. Also included in this edition are three minor works, Lady Susan, The Watsons and Sandition. Updated and revised in 2003, it has an newly designed cover and contains a short biography of Jane Austen, notes on the text, explanatory notes which are numbered within the text and referenced in the back, chronology, two appendixes of Rank and Social Class and Dancing and a 28 page introduction by Claudia L. Johnson, Prof. of English Literature at Princeton University and well known Austen scholar. Of the five introductions I have read so far in the Oxford Austen series I have enjoyed this one the most as Prof. Johnson style is so entertaining and accessible. She writes with authority and an elegant casualness that does not intimidate this everyman reader. The essay is broken down into a general Introduction, Gothic or Anti-Gothic?, Jane Austen, Irony, and Gothic Style, and Northanger Abbey in Relation to Lady Susan, The Watsons, and Sandition. Here is an excerpt that I thought fitting to support my previous mention of publishing history and tone. 

“Northanger Abbey is a sophisticated and densely literary novel, mimicking a great variety of print forms common in Austen’s day – conduct of books, miscellanies, sermons,  literary reviews, and, of course, novels. Its ambition is fitting, because it was to have marked Austen’s entrance into the ranks of print culture. After Austen’s earlier attempt to publish a version of Pride and Prejudice failed, Northanger Abbey (then called Susan) seemed to have succeeded, for it sold for a grand total of 10 to Crosby & Company in 1803. We have seen that Austen’s entrance into the printed world, unlike Catherine’s entrée into the wide world outside Fullerton, was energetically confident: when the narrator declares that novels ‘have only genius, wit, and taste to recommend them’ (p. 23), she is clearly referring to her own novel too. This seems an audacious claim when we consider that Austen had yet to publish a novel, and a painful one when we consider that the novel, though bought, paid for, and even advertised, never actually appeared.” Page xxv 

What I found most enlightening about this edition were the explanatory notes to the text which were also written by Prof. Johnson. Not only do they call attention to words, phrases, places, allusions, and historical meanings, they explain them in context to the character or situation allowing us further inside the though process or action. 

115 ponderous chest: the chest is a site of spine-tingling terror and curiosity in novels such as Ann Radcliffe’s Romance of the Forrest (1791), where it holds a skeleton (vol, I , ch. iv), and William Godwin’s Caleb Williams (1794), where it holds evidence of Falkland’s diabolical crime. p. 369. 

In addition to being an amusing parody and light hearted romance, I recommend Northanger Abbey for young adult readers who will connect with the heroine Catherine Morland whose first experiences outside her home environment place her in a position to make decisions, judge for herself who is a good or bad friend, and many other life lesson’s that we discover again through her eyes. Henry Tilney is considered by many to be Austen’s most witty and charming hero and is given some the best dialogue of any of her characters. 

“Miss Morland, no one can think more highly of the understanding of women than I do. In my opinion, nature has given them so much that they never find it necessary to use more than half.” Henry Tilney, Chapter 14 

Luckily for Henry Tilney there was one woman who used all that nature had given her with her writing when she created him. We are so fortunate that Northanger Abbey is not languishing and forgotten on a shelf at Crosby & Company in London, and available in this valuable edition by Oxford Press. 

Rating: 4 out of 5 Regency Stars

Northanger Abbey Lady Susan, The Watsons and Sandition,
by Jane Austen
Oxford World’s Classics
Oxford University Press, (2008)
Trade paperback, 379 pages, ISBN-13: 9780199535545
James Kinsley & John Davie, editors 

Supplemental Material
Claudia L. Johnson: Introduction and Explanatory Notes
Vivien Jones: Select Bibliography, Chronology and Appendixes
Biography of Jane Austen
Note on the Text
Textural Notes

Prof. Ellen Moody’s review

 

A Journey through Austen’s career:  the latest Oxford _Northanger Abbey_, _Lady Susan_, _The Watsons_ and _Sanditon_

 

Catherine (Felicity Jones) gazes round her room at Northanger (from the 2007 Granada/WBGH _NA_)

The pump room and Abbey at Bath (from the 1987 BBC _NA_)

If you buy any of this reissue of the Oxford editions of Austen, buy this. It alone makes available three precious texts not in print for a reasonable price anywhere else. No other recent edition of Austen’s books does this[1].

Gentle friends,

Here Laurel and I are for the fifth of our six diptych reviews of the 2008 reissue of the 2003 Oxford editions of Austen’s novels[2]. I hope I haven’t surprised anyone when I urged this volume more than any other of the series as a “must-buy,”  but if I have here’s why.

In one inexpensive annotated volume we have four novels by Jane Austen, three of which are today hard to find in such a format:  _Lady Susan_ & _The Watsons_ first published in 1871, and _Sanditon_, first published in 1925 (!) are today only readily available in Chapman’s _Minor Works_, Volume VI (1954: rpt. with revisions London: Oxford UP, 1969) was last printed in 1988; you can still buy it in hardcover, but its classical scholarly apparatus is intimidating, and it lacks explanatory notes meant for the common reader

The original new Oxford set established by James Kinsley in 1971 followed a tradition stemming from the first posthumous publication of _Northanger Abbey_ in 1818: Kinsley included _Northanger Abbey_ and _Persuasion_ in one volume[3], but as of 1980, Oxford printed _Northanger Abbey_ with _Lady Susan_, _The Watsons_ and _Sanditon_[4].  Thus in one volume we have four novels by Jane Austen, three of which are still hard to find in attractive paperback editions with needed notes, to wit: _Northanger Abbey_, a novel whose many revisions (Austen first named it _Susan_ and then _Catherine_) make it at once a palimpsest of Austen’s earliest work and interests, and a text which includes her latest and most sophisticatedly charming writing[5]; continue reading

Oxford World’s Classics: Emma – Our Diptych Review

“I will keep my ill-humour to myself. I have a very sincere interest in Emma . . . There is an anxiety, a curiosity in what one feels for Emma. I wonder what will become of her!” Mr. Knightley, Emma, Chapter 5 

Gentle readers, Please join us for the fourth in a series of six reviews of the revised editions of Jane Austen’s six major novels and three minor works that were released this summer by Oxford World’s Classics. Austenprose editor Laurel Ann is honored to be joined by Austen scholar Prof. Ellen Moody, who will be adding her professional insights to complement my everyman’s view.

 

Emma, by Jane Austen

Oxford World’s Classics Rev. Edition (2008)

 

Laurel Ann’s review 

For me, reading Jane Austen’s novel Emma is a delight. However, not all readers have been in agreement with me over the years including Jane Austen herself who warned her family before publication “I am going to take a heroine whom no-one but myself will much like.” She was of course making fun of herself in her own satirical way; – her critics on the other hand, were quite serious. When the book was published in 1815, Austen sent a copy to her contemporary author Maria Edgeworth who gave up reading the novel after the first volume, passing it on to friend and complaining, “There is no story in it.” Others had mixed feelings offering both praise and blame for its focus on the ordinary details of a few families in a country village. One important advocate of Emma was Sir Walter Scott, whose essay published in the Quarterly Review of 1815 represents the most important criticism on Austen’s writing during her lifetime. Even though the review was published anonymously, she must have been quite giddy when the reviewer heralded her Emma as a ‘new style of novel’ designed to ‘suit modern times’. Heady stuff to be sure. When it was later learned that Scott had contributed the review, it would placed Jane Austen in a whole other league of writers. 

Emma can be enjoyed on different levels, and for pure humour and witty dialogue it may reign as Austen’s supreme triumph. Just Google quotes from Emma and you might agree that it has the best bon mots of any of her novels. Modern critics claim it as her masterpiece, and I do not doubt it. Pride and Prejudice may be the most beloved and well know of her works, but Emma represents Austen at the height of her writing skill and power as a story teller. Like some of Austen’s contemporaries, the modern reader might find challenges in its minutiae and supposed lack of story. Not to worry. There are many sources available to assist in understanding Jane Austen’s subtle and often witty dialogue, her unique characterizations, and help place the novel in historical context. 

One source to consider is the new 2008 edition of Emma, by Oxford World’s Classics. Recently revised in 2003, this re-issue contains the same supplemental and textual material with a newly designed cover. For a reader seeking a medium level of support to help them along in their understanding you will be happy to find a thoughtful 23 page introduction by associate Professor of English and Women’s Studies Adela Pinch of the University of Michigan. The essay contains a brief introduction, and segments on Shopping and Suburbia, Narrative Voices: Gossip and the Individual, The Politics of Knowledge, and Emma: Much Ado About Nothing?. Her emphasis is on understanding Austen’s choice of writing about the ordinary and extraordinary aspects of the lives of its heroine Emma Woodhouse and her circle of family and friends in Highbury, a small English village in which she sets about to match make for all of its singletons blundering hilariously along the way. I particularly appreciated Prof. Pinch’s positive comments throughout the essay. 

“Austen makes voices stick in the mind through her use of free indirect discourse, which makes character’s voice seem indelible, capable of soaking into other beings. But she also uses the same technique for representing thought. Her cultivation of this mode of representing her heroines’ minds has made her novels crucial to the history of the English novel, markers of a movement when the novel as a literary genre perfects its inward turn, and begins to claim human psychology as its territory. Above all it creates the feeling of intimacy with her heroines that many readers prize.” Page xvii-xviii 

If I may be so bold and interject as the everyman Austen reader for a moment, parts of this essay are scholarly and touch on areas beyond my immediate understanding, especially when she delves into the philosophical and psychological pedantry. For the most part, Prof. Pinch’s essay is written in accessible language and is reverent and admiring to the author and the heroine. I found this outlook refreshing since the heroine Emma, and the novel Emma have received some criticisms for their shortcomings over the centuries. The novel is about so much more than the “no story” that Maria Edgeworth hastily condemned it to be. I especially adore Emma’s little friend Harriet Smith and think her much maligned in the recent movie adaptations, and well – can there ever be enough praise bestowed upon Mrs. Elton? She is comedic genius and worthy of a nomination to the literary comedy hall of fame. 

Professor Pinch has also supplied the helpful explanatory notes throughout the text which are numbered on the page allowing the reader to refer to the back of the book for explanation. Honestly, I prefer them to be footnoted at the bottom of the page instead of riffling back and forth, but that is a quibble on convenience. The remainder of the supplemental material; Biography of Jane Austen, Note on the Text, Select Bibliography, Chronology of Jane Austen, Appendix A: Rank and Social Status, and Appendix B: Dancing are repeated throughout the other Jane Austen editions in this series and discussed in our previous reviews. As always, I will defer to my learned colleague and co-reviewer Prof. Ellen Moody on the on-going discussion on the textual changes that have evolved since Emma’s first publication in 1815. 

This Oxford edition is a sweet little volume at an incredible price if you are in the market for a middlin amount of supplemental material from reputable sources containing an authorative text edited for the modern reader. If you enjoy matchless wit and irony, unforgettable characters, and a unique story that turns the everyday imaginings of a young Georgian era woman into an extraordinary story filled with a comedy of manners and romance, then take note; – Miss Emma Woodhouse commands you to purchase this book immediately!

Rating: 4 out of 5 Regency Stars 

Please join us in October when we review Jane Austen’s Gothic parody, Northanger Abbey and some of the Minor Works. 

Read our previous reviews of the Oxford World’s Classics – Jane Austen Collection

Emma by Jane Austen
Oxford World’s Classics
Oxford University Press, Rev. Ed. (2008)
Trade paperback, 418 pages, ISBN-13: 9780199535521
James Kinsley, editor 

Supplemental Material
Adela Pinch: Introduction and Explanatory Notes
Vivien Jones: Select Bibliography, Chronology and Appendixes
Biography of Jane Austen
Note on the Text
Textural Notes

 

Prof. Ellen Moody’s review 

“a heroine whom no one but myself will much like:”  the latest Oxford edition of Emma

Emma.  The book of books.  A remarkable novel where when a story or character suggestively goes through Emma’s mind since she half-gets it wrong, and sees it partially, we are invited to imagine it whole — so one novel becomes many in potentia.

Doran Goodwin as Emma Woodhouse, Emma (1972)

Mr Knightley (John Carson) has just told Emma (Doran Goodwin) he cannot love Jane Fairfax because he can love an open nature only; she has reciprocated by telling a joke against herself, and he laughs not in triumph or meanly, but out of a spirit of deeply congenial camaraderie (’72 Emma, screenplay Denis Constanduros)

Dear Friends,

As Laurel Ann says, here we are for the fourth in our series of six diptych reviews of the latest Oxford reprint of Jane Austen’s novels contextualized against a background of controversies, scholarship, book illustrations and film adaptations[1].  This time I will also provide a counterpart to Laurel Ann’s review by, like her, first talking about what makes Emma an important and perplexing book.

“Important” is such an overused word that it may seem beyond retrieval as a meaningful word (publishers scream from the top of their blurbs how this is an important, that an essential book), but its simplicity (it’s not pompous) makes me reach for it. 

Like all the other latest Oxfords, the text here is a reprint of the 1971 text edited by James Kinsley (basically an emended reprint of Chapman’s 1923 text as revised by Mary Lascelles).  As with Pride and Prejudice, there is no alternative first text as there is no manuscript and Austen died before a second edition could even be thought of. Like latest reprints of Sense and Sensibility and Pride and Prejudice, we also get exactly the same supplemental materials: brief biographical note, bibliography, chronology, and (by Vivien Jones) appendices on rank and social status and on dancing.  The notes are a reprint of the 2003 notes Adele Pinch wrote.

As Laurel says, Adela Pinch’s introduction to the latest 2008 Oxford reprint[2] of Emma emphasizes how different Emma seemed to most novels to readers of the era; Pinch tells us how bored Edgeworth said she felt in a letter to a friend.  Since it was Austen who sent a copy of her book to Edgeworth (probably out of pride in an achievement), I, for one, prefer to assume this comment never got round to Austen.  Not that Austen is herself shy of criticizing other novelists harshly or at all (at least in her letters to her sister) unsure of the high and exquisite quality of her artistry.  Her response to Scott’s review was to complain he left out Mansfield Park. continue reading

Oxford World’s Classics: Mansfield Park – Our Diptych Review

“Me!” cried Fanny…”Indeed you must excuse me. I could not act any thing if you were to give me the world. No, indeed, I cannot act.” Fanny Price, Chapter 15 

Gentle readers, Please join us for the third in a series of six diptych reviews of the revised editions of Jane Austen’s six major novels and three minor works that were released this summer by Oxford World’s Classics. Austenprose editor Laurel Ann is honored to be joined by Austen scholar Prof. Ellen Moody, who will be adding her professional insights to complement my everyman’s view.

 

Mansfield Park, by Jane Austen

Oxford World’s Classics Rev. Edition (2008)

 

Laurel Ann’s review

In a popularity poll of Jane Austen’s six major novels, Mansfield Park may come close to the bottom, but what a distinction that is in comparison to the rest of classic literature! Even though many find fault with its hero and heroine, its love story (or more accurately the lack of one), its dark subtext of abuse, neglect and oppression, and its overly moralistic tone, it is still Jane Austen; with her beautiful language, witty social observations and intriguing plot lines. Given the overruling benefits, I can still place it in my top ten all-time favorite classic books. 

Considering the difficulty that some readers have understanding Mansfield Park, the added benefit of good supplemental material is an even more important consideration in purchasing the novel. Recently I evaluated several editions of the novel currently in print which you can view here. For readers seeking a medium level of supplemental material, one solid candidate is the new reissue of Oxford World’s Classics (2008) which offers a useful combination of topics to expand on the text, place it in context to when it was written, and an insightful introduction by Jane Stabler, a Senior Lecturer in English at the University of Dundee, Scotland and Lord Byron scholar. 

Understanding all the important nuances and inner-meanings in Mansfield Park can be akin to ‘visiting Pemberley’, the extensive estate of the wealthy Mr. Darcy in Jane Austen’s more famous novel Pride and Prejudice. One is intrigued by its renown but hard pressed to take it all in on short acquaintance. The greatest benefit of the Oxford World’s Classics edition to the reader who seeks clarification is Jan Stabler’s thirty page introduction which is thoughtfully broken down into six sub categories by theme; The Politics of Home, Actors and Audiences, The Drama of Conscience, Stagecraft and Psychology, Possession, Restoration and Rebellion, and Disorder and Dynamism. Written at a level accessible to the novice and veteran alike, I particularly appreciate this type of thematic format when I am seeking an answer or explanation on one subject and do not have the time to wade through the entire essay at that moment. Her concluding lines seemed to sum up my recent feelings on the novel. 

The brisk restoration of order at Mansfield Park and healing of the breach between parent and child is underwritten by the same doubt that lingers around the last scene of Shakespeare’s King Lear: ‘Is this the promis’d end? (v. iii 262). Recreating the urge to defy parental authority while teaching us to sit still, and pitting unruly energy against patient submission to the rule of law, Mansfield Park is an enthralling performance of the competitive forces which governed early nineteenth-century politics, society and art.” 

For me, Mansfield Park is about Jane Austen teaching this unruly child to sit still and enjoy the performance! With patience, I have come to cherish Fanny Price, the most virtuous and under-rated heroine in classic literature! Re-reading the novel and supplemental material was well worth the extra effort, expanding my appreciation of Austen’s skills as a story teller and the understanding of the social workings in rural Regency England. I am never disappointed in her delivery of great quips such as 

But there certainly are not so many men of large fortune in the world as there are pretty women to deserve them.” The Narrator, Chapter 1 

Also included in this edition are four appendixes; the first two on Rank and Social Status and Dancing which are included in all six of the Oxford World’s Classics Jane Austen editions and have been previously reviewed, followed by; Lovers’ Vows (the theatrical that the young people attempt to produce in the novel), and Austen and the Navy which helps the reader understand Jane Austen’s connection to the Royal Navy through her brothers James and Francis and its influence on her writing. The extensive Explanatory Notes to the text help place the novel in context for the modern reader while offering helpful and insightful nuggets of Regency information. 

Mansfield Park may have the dubious distinction of being Jane Austen’s most challenging novel, but I have come to appreciate her characters and plot by better understanding of the subtext through supplemental material and further re-readings of the novel. It is now one of my favorite Austen novels. Readers who hesitate to read Mansfield Park because of the ‘bad rap’ that it has received over the years are reminded of heroine Fanny Price’s excellent observation to the unprincipled character Henry Crawford, “We have all a better guide in ourselves, if we would attend to it, than any other person can be“. The Oxford World’s Classics Mansfield Park is certainly a fine edition to help you discover your own better inner-guide to the novel!

Rating: 4 out of 5 Regency Stars 

Please join us for the next review of Emma in September

Read my previous reviews in the Oxford World’s Classics – Jane Austen Collection

Mansfield Park by Jane Austen
Oxford World’s Classics
Oxford University Press, Rev. Ed. (2008)
Trade paperback, 480 pages, ISBN-13: 9780199535538
James Kinsley, editor 

Supplemental Material
Jane Stabler: Introduction and Explanatory Notes
Vivien Jones: Select Bibliography, Chronology and Appendixes
Biography of Jane Austen
Note on the Text
Textural Notes

 

Prof. Ellen Moody’s review 

“The World as a “take-in”:  the latest Oxford _Mansfield Park_

 

Tom Townsend (Edward Clements, the Edmund character) regaling Audrey Rouget (Carolyn Farina, the Fanny Price character) with Trilling’s commentary; she is not thrilled. [1] (1990 _Metropolitan_, free adaptation of _MP_)

Many covers of _Mansfield Park_ feature a grand ancient house seen in
the distance (even though Austen tells us it was modern) 

As Laurel says, here we are for a third go at a series of diptych reviews. This time our topic is _Mansfield Park_, a book which has become controversial first as utterly dislikable — boring, distasteful, and worse yet, a grave moral comedy; and then as radical — subversive, a book intended to expose the viciousness and ruthless exploitation upon which the comfort of the powerful and rich depends, indeed the most profound and far reaching, the richest of Austen’s books, not a mere love story, which element in the book often nowadays scarcely gets a look-in by some critics.  This singling out of the book as particularly “difficult” and needing especially diligent defense begins in 1944 when the first of the 20th century texts about Austen written by non-academic ordinary women readers, popular novelists themselves, Sheila Kaye-Smith and G. B. Stern’s _Speaking of Jane Austen_ hit the until then overwhelmingly male-dominated mostly high-minded criticism-land of Jane Austen (Mark Twain’s resentful venom and Rudyard Kipling’s ironies are rarities).  You see, as Edmund Wilson then (in reaction) condescended to explain, it seems “there is something wrong with _Mansfield Park_ and [Kaye-Smith and Stern] have a great deal to say it.”  Edmund Wilson’s “Long Talk about Austen” informed the world, among others, the today still supremely prestigious Vladmir Nabokov, that Jane Austen must be included in courses of great authors; the story goes Nabokov bristled, at which Wilson huffed, so Nabokov swallowed hard and reluctantly put _Mansfield Park_ in his syllabus[2]. 

The iconic scene of all the _MP_ movies:  Fanny (Sylvestre Le Tousel) writing, this case her beloved brother William; in all three costumed dramas, but especially this first (1983 BBC) she is the (unusal female) narrator of much of the story through subjective retrospective scenes.  Here we see her in her “nest of comforts,” her attic (as yet unheated). 

Here (1999 Miramax) she will when grown up (Francis O’Connor) will write stories (sometimes for her beloved sister Susan, Sophia Myles), but the function is occasionally the same, if the mood, upbeat comedy and directed at someone near her, like Edmund (Jonny Lee Miller) despite the gothicized surroundings, has been altered. 

Hitherto I have confined myself to complementing Laurel’s reviews with contextualization in the form of brief surveys of recent editions of the novels, covers and illustrations, film adapations available, and secondary issues about the book as a book, for “Ours is a competitive business, sir:” the latest Oxford _Sense and Sensibility, the problem of which text to choose (1811 or 1813); for A novel many novel-readers feel called upon to read: on the latest Oxford _Pride & Prejudice_, some sense of a series of book and movie events which have led to the book’s having become since the second half of the 20th century a transcendent best-seller (beginning with her nephew’s 1870 memoir, and including the usefulness of the book’s archetypal strong romance for movies, careers in and outside classrooms, and the heritage industry).  

I will again offer some description of other recent editions, and talk about the problem of which text to chose (we again have two texts printed in Austen’s lifetime, 1814 and 1816), and end on the movies, one of which is in my judgement a masterpiece of filmic art, the 1983 BBC _Mansfield Park_, one of the best film adaptations of an Austen book, and there have been many[3]. The difference will be this time I will discuss the book’s content directly with the aim of doing as many have done before me (I’ll quote them) explaining why there seems to be such disquiet to the point we are told (by Kingsley Amis, be it noted a misogynist in his fiction) _Mansfield Park_ is not the real Jane Austen, is utterly uncharacteristic, a product of imposed self-denying “revulsion physical and particular,” this Marvin Mudrick’s response partly to her heroine who stands for a type whom all right-minded people avoid and whose pious hypocrisy (aggressive-passiveness if you prefer) they see through in life and fiction[4]. continue reading

 

Fanny at the moment when Tom (Christopher Villiers) has suddenly called upon her to take a part (from the other side of the room, where he is busy suiting his convenience) and then insists: as she becomes the center of a scene she is intensely distressed (Edmund, Nicholas Farrell, and Mary, Jackie Smith-Wood, sit behind her) as

fn1.  Audrey Rouget, _Metropolitan_, in Whit Stillman’s _Barcelona/Metropolitan_ (London & Boston: Faber, 1994):192-93.  She is discussing Lionel Trilling’s essay (see my discussion of this and other essays on _MP_ below). 

fn2.  See (and read if you haven’t as yet) the fascinating Sheila Kaye-Smith and G.B. Stern’s _Speaking of Jane Austen_ (New York: Harper, 1994), published n England as _Talking of Jane Austen_; Edmund Wilson, “A Long Talk About Jane Austen,” _Classics and Commercials: a literary chronicle of the forties_ (New York: Farrar, Strauss, and Cudahy, 1951):196-203; and the overpraised “Jane Austen: Mansfield Park,” in Vladmir Nabokov, _Lectures on Literature_, ed. Fredson Bowers (New York:  Harcourt Brace Jovanovich, 1980):9-60. Nabokov analyzes the design and themes of the incidents at Sotherton and the play-acting, but the description of Austen’s novles as “delicate patterns, with her collection of eggshells in cotton wool,” in comparison say to the rich wide world (“tawny port“) of Dickens reveals the masculinist disdain of Austen:  he writes: “Personally I dislike porcelian and the minor arts … Let us not forget there are people who have devoted to Jane all their lives, their ivy-clad lives …” and so on and so forth (p. 63). 

fn3. For me undoubted masterpieces of filmic art which seriously engage with Austen’s texts are the of the apparently faithful adaptations: 1972 BBC _Emma_, 1979 BBC _P&P_, the 1983 BBC _MP_, the 1995 BBC/WBGH _P&P_, 1995 Miramax _S&S_ and 1995 BBC _Persuasion_ (95 was a great year), _ and the commentaries the 2007 _Persuasion_ and 2008 _S&S_.  Of the free adaptations another _MP_ film stands high, Whit Stillmans’ independent 1990 _Metropolitan_, the Tamil 2000 _I have Found it_ (_S&S_), Victor Nunez’s independent 1993 _Ruby in Paradise_ (_NA_) and the 2006 Warner _Lake House_ (_Persuasion_) seem the best in the serious vein, the Amy Heckerling’s 1996 Paramount _Clueless_ (_Emma_ and 2001 Columbia Tristar _Bridget Jones Diary_ (_P&P_) in the comic.   I also find of real interets the 1987 BBC _NA_, 2007 BBC/WBGH _NA_ , and the much-maligned (lie the book), 2007 ITV _MP

fn4. Kingsley Amis, “What Became of Jane Austen,” _Jane Austen: A Collection of Critical Essays_, ed. Ian Watt (NJ: Prentice-Hall, 1963):141-43; Marvin Mudrick, _Jane Austen: irony as defense and discovery_ (Berkeley: University of California Press, 1952); 155-80. 

Mansfield Park: Current Editions in Print Roundup & Review

THE SCOOP

Literary classics that are out of copyright can be a gold mine for publishers. With no living authors to negotiate contracts or pester them about marketing and promotions, they are at their leisure to do as they please, and do so, as is apparent in some choices of cover artwork! The competition in the marketplace for classics is stiff and really heats up when a renowned author such as Jane Austen enters the arena. Even her lesser known works such as Northanger Abbey and Mansfield Park get equal treatment. Hurrah. We are all for equality in the book force.

There are at present over 50 editions of Mansfield Park available in printed book format on Amazon.com. Everyone has their preferred edition, but here are my selections of the best and brightest currently in print. I would love to hear about your favoured edition, so please share by leaving a comment between August 16 and the 30 to qualify for some of our free give-aways during Mansfield Park Madness.  

Books 

The Oxford Illustrated Jane Austen: Volume III: Mansfield Park

Oxford University Press, USA (1988). First published in 1923, this third edition of Oxford’s classic volume is still the definitive text and supplemental material recommended by JASNA and many veteran readers of Jane Austen novels. Editor Dr. R.W. Chapman’s emendations and revisions of the text based on a “full collation between all the published editions in the author’s lifetime” is currently under debate by scholars, but the nuances will fly past the pleasure reader. This volume contains an impressive presentation of support material including: Introductory Note, the complete play Lovers’ Vows which the characters in novel attempt to produce, Appendixes on the Chronology of Mansfield Park, Improvements, and Carriages and Travel, and Indexes to the Characters &C. The size is quite workable in spite of its extras. Probably the most used supplemental material on Mansfield Park in my personal library. Hardcover, 584 pages, ISBN 978-0192547033. 4 out of 5 Regency stars           

Mansfield Park: Penguin Classics

Penguin Classics (2003). Revised edition. The interesting slant on this edition is that the editor Kathryn Sutherland used the text of the first edition of Mansfield Park (1814), which literally reverses the emendations by Chapman in the Oxford editions, and has not attempted to make any changes; not even spelling corrections or the ones that Jane Austen made herself for the second edition! She kindly refers the reader to the extensive ‘Emendations to the Text’ section and lists the changes from the first edition of 1814 to the second edition of 1816. Pleasure readers might be puzzled by all this posturing by Austen scholars, (which is a bit deep into subtle nuances), but the rest of the supplemental material is quite extensive and helpful including; Introduction, Chronology, Further Reading, Note on Text; Appendixes: Re-instated introduction by Tony Tanner, Emendations to the Text, Textural Variants between the First and Second editions and Notes broken down by chapters. This a tight and clean editionwith its chapter notes and the re-instated introduction by Tony Tanner make it well worth the price. Trade paperback, 480 pages. $8.00, ISBN 978-0141439808. 3½ out of 5 Regency stars           

Mansfield Park: Barnes & Noble Classics

Barnes & Noble (2004). Revised edition. The best thing going for this edition is its typesetting size and price. I could not find any mention of what edition or level of emendations where used on the text, so the editors are not shooting for the scholarly types; just plan old folks who don’t give two figs about what the textural battles are about. This is a slight oversight, since they had plenty of available space on the front pages to just mention what text they used and why. Oh well. Mansfield Park is Jane Austen, largest novel in size motivating publishers to try to cut down on price by using smaller print which can be quite vexing even to young readers, so this edition’s larger typeface is a pleasant surprise. The supplemental material is medium depth and includes; From the Pages of Mansfield Park which include some choice quotes, Biography of Jane Austen, The World of Jane Austen and Mansfield Park which is basically a chronology, Introduction by Amanda Claybaugh, brief Endnotes, Inspired by Mansfield Park which includes short blurbs on the movies Metropolitan and Mansfield Park (1999), Comments and Questions, and Further Reading. I will say that most of the comparably priced MP’s do not include any supplemental material, so B&N’s clout and deep pockets give readers a slight bonus. Hardcover, 427 pages, $7.95, ISBN 978-1593083564; softcover, 427 pages, $5.95, ISBN: 978-1593081546.  out of 5 Regency stars 

Mansfield Park: Oxford World’s Classics

Oxford University Press (2008). Revised edition. Oxford Press continues to impress me with their commitment to publish classics and revise them regularly. This new edition is much the same as its predecessor the 2003 edition, (which was truly a revision with new supplemental material), however, Oxford did spiff up the cover modernizing the design! This volume still shines in my estimation of what a great medium sized edition should be presenting an array of supplemental material that is easy to access, informative and inspiring including; Biography of Jane Austen, Introduction by Jane Stabler, Notes on the Text, Chronology; Four Appendixes: Lovers’ Vows (the play that the characters attempt to produce), Rank and Social Status, Dancing, Austen and the Navy; Textural Notes and Explanatory Notes. When it comes down to the wire, this edition is the best buy for the price at $7.95. Trade paperback, 418 pages, ISBN 978-0199535538.  out of 5 Regency stars 

Mansfield Park: Broadview Literary Texts Series

Broadview Press (2001). This hefty volume may just be the most in depth presentation of supplemental material available with an affordable price tag. The eight appendixes pull together a variety of interesting and comprehensive essays to help the reader place the novel in historical and social context, the author’s world and perspective at the time of its writing, and beyond. Some of the topics covered in the appendixes are (and space permits me from listing them all, so if you really need to know, go here) The Theatricals in Mansfield Park, Religion, Ideals of Femininity, The Improvement of the Estate, The West Indian Connection, Women’s Education, Contemporary Reception of Mansfield Park and Jane Austen’s Letters and Mansfield Park. This edition also includes a full introduction by noted scholar June Sturrock of Simon Fraser University, Notes on the text, a Chronology, and the full novel text! I can imagine that this would be very useful to advanced high school students, college level, and true Janeites who really want to dig deep into understanding the novel, its impact on literature, and the social context that inspired it. Trade paperback, 528 pages, $14.95, ISBN 978-1551110981. 5 out of 5 Regency stars 

Mansfield Park: Norton Critical Edition

W.W. Norton & Co, Inc. (1998). Another authoritative presentation of in-depth supplemental material for scholars and serious students to digest, covering an incredibly impressive array of topics mentioned in, inspired by, or about the novel, all edited and introduced by Princeton University Professor, and Austen scholar Claudia L. Johnson. The major categories of the supplemental material include; a full Introduction, Map of England, Notes on the Text; Contexts including twelve essays ranging from poet William Cowper to landscape designer Humphry Repton; and Criticisms by Jan Fergus, Lionel Trilling, Alistair Duckworth, Nina Auerback, Joesph Litvack, Edward Said, Brian Southam, and Joseph Lew. I doubt that anyone could sit down and read this from cover to cover in one sitting, however, there is so much depth of subject and detail, that one could truly spend an entire lifetime using this edition as a resource. An incredible STEAL for the price. Trade paperback, 544 pages, $11.00, ISBN 978-0393967913. 5 out of 5 Regency stars 

Mansfield Park: The Cambridge Edition of the Works of Jane Austen

Cambridge University Press (2005). This mysterious edition (to me) may just be the Flying Dutchman and the Holy Grail of Jane Austen editions, for I have yet to see one in hand, nor does my local library carry it, or are any other libraries willing to let it out of there sights by inter-library loan! Conclusively, it must be a treasure, and since it costs a bloody fortune, it most certainly is locked away in a University library special reading room where only scholars with white gloves can handle it!! I wish I could enlighten you all on what it contains, but alas, after an exhaustive attempt to obtain a copy short of paying the hefty price tag, I came up empty. Oh well. There always needs to be an unattainable Austen book out there to keep us Janeites dreaming. Hardcover, 826 pages, $130.00, ISBN: 978-0521827652. ? out of 5 Regency stars 

Upcoming posts
Day 3 – Aug 17            MP 1983 movie discussion
Day 4 – Aug 18            MP Naxos (Juliet Stevenson) audio
Day 5 – Aug 19            MP novel discussion chapters 9-16
Day 6 – Aug 20            Metropolitan movie discussion

Oxford World’s Classics Pride and Prejudice: Our Diptych Review

Cover of Pride and Prejudice, by Jane Austen, Oxford World Classics, (2008)

his perfect indifference, and your pointed dislike, make it so delightfully absurd!” Mr. Bennet, Pride and Prejudice, Chapter 57

Gentle readers, Please join us for the second in a series of six diptych reviews of the revised editions of Jane Austen’s six major novels and three minor works that were released this summer by Oxford World’s Classics. Austenprose editor Laurel Ann is honored to be joined by Austen scholar Prof. Ellen Moody, who will be adding her professional insights to complement my everyman’s view. 

 

Pride and Prejudice, by Jane Austen

Oxford World’s Classics Revised edition, (2008) 

Laurel Ann’s Review 

Any reader of the novel Pride and Prejudice, be it novice or veteran, has certain expectations and apprehensions based on its incredible popularity and renown. The same can be said for the media, whose recent over-use of its famous opening line, ‘It is a truth universally acknowledged…’ can be found repeated in the opening of many a news, magazine or blog article announcing some creditable or dubious connection to Jane Austen’s characters or plot. Interestingly, it has become the meme of the day passed along and re-used by those who want to appear in the know, but are sadly missing the point. It is debatable if Pride and Prejudice’s profound truths can be reduced to just universally acknowledged one-liners. If the novel was that easy to figure out we would not care two figs about it, and after nearly two hundred years, it would have been lost to obscurity! What one can expect though is so much more; an engaging plot that keeps you thinking and re-evaluating characters every step along the way, witty, sharp and humorous dialogue that others wish to emulate but never quite achieve, and a love story which just might reign supreme for all eternity. With all of these expectations before us, who could not be a little intimidated?  

The Oxford World’s Classics new edition of Pride and Prejudice might just meet your need to read and explore Jane Austen’s classic novel. This edition presents the reader with a wide variety of supplementary material to help you along in your discovery of the universal truths in Pride ad Prejudice. Like many editions, it supplies us with an unabridged text that has been carefully edited by prominent scholars since it was first published in 1813. ‘Carefully’ is the operative word here, since the debate is on about what has been changed or removed from the text. I will again defer to my learned co-reviewer Prof. Moody to delve into that arena. In addition to the brief biography of Jane Austen, select bibliography, chronology of her life, and two appendixes on dancing and social status that are repeated in each of the six editions in this series, (and previously mentioned in our first review), this volume includes a twenty-six page introduction by Fiona Stafford, notes on the text including a publishing history, textural notes and explanatory notes unique to this edition filled with insights and facts neatly organized and easy to find. 

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Oxford World’s Classics: Sense and Sensibility – Our Diptych Review

Image of the cover to Sense and Sensibility, by Jane Austen, Oxford Unversity Press, (2008)“Pray, pray be composed,” cried Elinor,”and do not betray what you feel to every body present. Perhaps he has not observed you yet.” Elinor Dashwood to her sister Marianne, Sense and Sensibility, Chapter 28 

Gentle readers, Please join us for the first in a series of six diptych reviews of the revised editions of Jane Austen’s six major novels and three minor works that were released this summer by Oxford World’s Classics. Austenprose editor Laurel Ann is honored to be joined by Austen scholar Prof. Ellen Moody, who will be adding her professional insights to complement my everyman’s view. 

Sense and Sensibility, by Jane Austen

Oxford World’s Classics, Rev. Ed. (2008) 

Laurel Ann’s Review 

So you want to read Sense and Sensibility. Great choice! Jane Austen’s first published novel (1811) can get lost in the limelight of her other ‘darling child’, Pride and Prejudice, but is well worth the effort. There are many editions available in print today, and the text can stand on its own, but for those seeking a ‘friendlier’ version with notes and appendixes, the question arises of how much supplemental material do you need, and is it helpful? 

One option is the Oxford World’s Classics new revised edition of Sense and Sensibility that presents an interesting array of additional material that comfortably falls somewhere between just the text, and supplemental overload. This volume offers what I feel a good edition should be, an expansive introduction and detailed notes supporting the text in a clear, concise and friendly manner that the average reader can understand and enjoy. 

The material opens with a one paragraph biography of the life of Jane Austen which seemed rather slim to this Austen enthusiast’s sensibility, and most certainly too short for a neophyte. The introduction quickly made up for it in both size and content at a whopping 33 pages! Wow, author Margaret Anne Doody does not disappoint, and it is easy to understand why after eighteen years publishers continue to use her excellent essay in subsequent editions. 

Illustration by C.E. Brock, Sense and Sensibility, J. M. Dent, (1898)Amazingly, the introduction is not at all dated. The material covered is accessible to any era of reader, touching upon the novels publishing history, plot line, character analysis, and historical context. Doody thoughtfully presents the reader with an analysis of the major themes in the novel such as; the dichotomy of sense and sensibility as it relates to the two heroines Elinor and Marianne, the portrayal of negligent mothers, men represented as the ultimate hunter, secrecy, deceit and concealment, and the crippling impact of the inheritance laws and primogeniture on women during the Regency era. Interlaced with Doody’s interpretations are her astute observations of Austen’s writing style with references to pages in the novel and outside sources. The entire essay is well researched, populated with footnotes, and an enjoyable complement to the text. 

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Oxford World’s Classics Reveal New Jane Austen Editions

Image of the cover of Emma, by Jane Austen, Oxford World Classic, (2008) “Be satisfied,” said he, “I will not raise any outcry. I will keep my ill-humour to myself. I have a very sincere interest in Emma. Isabella does not seem more my sister; has never excited a greater interest; perhaps hardly so great. There is an anxiety, a curiosity in what one feels for Emma. I wonder what will become of her!”  

“So do I,” said Mrs. Weston gently; “very much.” Mr. Knightley and Mrs. Weston discussing Emma Woodhouse, Emma, Chapter 5 

The Austen book sleuth is afoot again and happy to reveal new discoveries for our gentle readers! The news is quite exciting, and like Miss Emma Woodhouse, we are always intrigued with a piece of news.   

Oxford University Press is rolling out six new Jane Austen trade paperback editions of its Oxford World’s Classics series in June. They will include full unabridged texts, new introductions, notes on the text, selected bibliography,  chronology, biography, two appendixes, textual notes and explanatory notes on each of the major novels; Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Persuasion, and Northanger Abbey with a bonus of Lady Susan, The Watson’s and Sandition included.  

Image of the cover of Pride and Prejudice, by Jane Austen, Oxford World Classics, (2008)Oxford World’s Classics launched its new re-designed classics line in April, and the improvements are quite stunning both visually and texturally. With over 750 titles of world literature to choose from, their commitment to scholars and pleasure readers is nonpareil. You can browse their catalogue here.  

Here is a description of the new edition of Emm

‘I wonder what will become of her!’ 

So speculate the friends and neighbours of Emma Woodhouse, the lovely, lively, willful, and fallible heroine of Jane Austen’s fourth published novel. Confident that she knows best, Emma schemes to find a suitable husband for her pliant friend Harriet, only to discover that she understands the feelings of others as little as she does her own heart. As Emma puzzles and blunders her way through the mysteries of her social world, Austen evokes for her readers a cast of unforgettable characters and a detailed portrait of a small town undergoing historical transition. 

Written with matchless wit and irony, judged by many to be her finest novel, Emma has been adapted many times for film and television. This new edition shows how Austen brilliantly turns the everyday into the exceptional.  

Image of the cover of Sense and Sensibility, by Jane Austen, Oxford World Classic, (2008)Product Details: Edited by James Kinsley, with a new introduction and notes by Adela Pinch, the author of Strange Fits of Passion: Epistemologies of Emotion, Hume to Austen (Stanford UP, 1996) and numerous articles on eighteenth- and nineteenth-century English literature and culture. 448 pages; ISBN13: 978-0-19-953552-1, retail price $7.95 

Five of the beautiful new cover images are taken from classic paintings of Regency era women, and Northanger Abbey includes an image of Gothic architecture. You can read further about the re-design at the Oxford University Press website. Don’t miss taking the fun literary quiz, and discover which character from Oxford World’s Classics you are most like. I was surprised to learn that ‘today’ I am Emma Woodhouse! Who would guess?