Reviewing the Situation

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book reviews, British Census from 1801, dog training, Jane Austen, Roger Huchinson, Shelley DeWess, The Beatles, the Brontes

I am a review junkie. Before an anticipated purchase I will be found scouring other people’s opinion. Often the project is then abandoned and money is saved. However, I glean an insight into new characters who produce their praise or venom often sans punctuation, sans capitalisation. I visualise those who say, ‘I loved it so much I bought it in every colour. I haven’t worn it yet,’ with their wardrobes, colour-coordinated, of course, awash with identical outfits.

Then there are book reviews. Reading some, I feel I know the story and so why bother? But recently, for the first time in a long life, I immediately ordered two books, both non-fiction. The Butcher, The Baker, the Candlestick Maker by Roger Hutchinson is an account of the British decennial census since its conception in 1801 by John Rickman. Fascinating for anybody who has dabbled in family history or is interested by the changing demography of society, it is a book of facts and figures amongst which are snippets of interest and amusement.

In the 1841 census in Liverpool, four families gave Ireland as their place of birth: their surnames, McCartney, Lennon, Harrison and Starkey.

There are accounts of well-known families, among them Marks, Macmillan, Flora Thompson, and the unknown: the bigamist and those who truthfully gave their occupations as prostitute, brothel keeper, beggar. Later the suffragists would enter “domestic slave” or simply “slave” as a protest at being disenfranchised.

In 1881 when women were recruited as enumerators they were satirised by imaging a conversation between the  female enumerator and the lady of the house. Neither could keep to the point, but discussed the carpet, their clothes and pudding recipes. “I must be getting on. I haven’t done but three families all the forenoon.”

The second book is Not Just Jane by Shelley DeWess who, eagerly, awaiting a dramatisation of Pride and Prejudice, was devastated to find where she had “seen erudition, subtle wit, and quiet country vistas the director had seen flirtation and farce”. This set her on the quest to discover the now, but not in their own time, lesser-known contemporary female writers of Jane, Charlotte and Emily. (Anne, “the forgotten Brontë sister, who refused to wear rose-tinted glasses”, she places in another category.) Invariably the seven authors whose lives and works she describes turned to writing for economic reasons, usually caused by feckless husbands. Denied the cosy corner of a paternal vicarage, they laboured to feed children and to liberate husbands from a debtors’ prison. No longer household names they were once highly-regarded by William Wordsworth, Robert Southey, Dr Samuel Johnson. Now “They are not remembered, they are not canonized….What I came to understand was that, first and foremost, the game of lasting fame is an inherently unfair one.”

Skipper, of the canine literati, unprompted, reviewed a dog-training manual. His opinion was entirely subjective.

Reading aloud – pain and pleasure

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Barbara Pym, Eileen Atkins, Elizabeth Gaskell, Georgette Heyer, Ian Holm, Jane Austen, John Westbrook, Juliet Stevenson, Prunella Scales

Reading our own work aloud to ourselves is one of the pieces of advice handed out by creative writing tutors. At the proof-reading stage it’s an efficient way of picking up errors because it slows us down and reveals the camouflaged nasties that get missed by the skimming eye. It’s also effective for spotting all those other faults to which we can remain curiously blind – an awkwardly constructed sentence, ungraceful rhythm, accidental rhymes.

But when we read our novel aloud to other people, say in a writing group, we will inevitably include our own choice of intonation and expression to convey what we intend future readers to experience for themselves, what we as authors hear clearly in our own head. But future readers won’t have this add-on. Our written words must do all the work. Which is why it might be a very good idea to get another member to read for us. For only then will we be made aware of possible ambiguities of meaning, unconvincing dialogue, slips in point of view, confusion over who is speaking …

More work, there always is, but it could be sustained by a pleasant daydream about who we might choose should our novel ever be turned into an audiobook …  Unsurprisingly my own wishlist would include Juliet Stevenson and Eileen Atkins (marvellous at Barbara Pym novels and everything else too) and Prunella Scales (I can’t imagine another voice who so perfectly captures the wit and spirit of favourites like Jane Austen’s Emma and Elizabeth Gaskell’s  Wives and Daughters.

And then recent listening reminds me of Ian Holm’s wonderful reading of The Woman in White and for ultimate comfort when feeling tired or ill, John Westbrook provides the perfect restorative with Georgette Heyer’s The Grand Sophy …

Listening to a good novel read aloud by someone in perfect sympathy with the text: one of life’s greatest delights. Does anybody have any recommendations?

 

 

Selfishness and Jane Austen: an irresistible competition

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Hampshire Cultural Trust, Jane Austen, Jane Austen's House Museum, Selfishness

Occasionally a short story competition comes along that gives you a thrill of creative excitement.

The competition set up by Hampshire Cultural Trust in association with Jane Austen’s House Museum is like this. Perfect for all of us who can’t get enough of our idol, even in this 200th anniversary year of her death. Aren’t we so steeped in Jane Austen that we might have a chance this time of writing something which will catch the judge’s eye?

Stories must be no more than 2017 words and respond to the quote from Mansfield Park ‘Selfishness must always be forgiven you know because there is no hope of a cure.’

One snag – the closing date is 28th February. Website: http://janeausten200.co.uk/competitions

 

Dorothy Whipple -a perfect storyteller, not a pudding

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Dorothy Whipple, heroines, Jane Austen, Nicola Beauman, opening sentences, Persephone Books, Someone at a Distance, Virago

Widowed, in the house her husband had built with day and night nurseries and a music-room, as if the children would stay there for ever, instead of marrying and going off at the earliest possible moment, old Mrs North yielded one day to a long-felt desire to provide herself with company. She answered an advertisement in the personal column of The Times.

Old Mrs North’s husband had spoilt her, but now that he was dead and her three children married, no one spoilt her any more. She didn’t come first with anybody and she didn’t like that.

This is the opening of Dorothy Whipple’s last novel Someone at a Distance. Is it the kind of opening that would make agents jump up and down with excitement if they came across it in a submission today? Probably not, which is sad for those of us who love this kind of straightforward honest prose and storytelling.

Dorothy Whipple herself described it as ‘a fairly ordinary tale about the destruction of a happy marriage.’ There is the deceived wife, the foolishly weak husband, the envious, greedy French girl who sets out to seduce him to console herself, the traumatised teenaged children. But the way it all happens makes the novel a page turner.

This is not a plot-driven novel; what interested Dorothy Whipple was character, and she writes about people with acute psychological insight, subtly through telling little details and in simple everyday scenes.

The tragedy to come is foreshadowed when Louise, coming as companion to old Mrs North, reads aloud to her from Emma Bovary. She is escaping the humiliation of being rejected by a man above her in the social hierarchy of the French provincial town where her parents tiptoe around her afraid of what they have hatched. To take Avery away from Ellen will give Louise power again and restore her self-confidence. Ellen ‘didn’t deserve what she had if she couldn’t keep it’.

Ellen is what may annoy some modern readers; she is a happy housewife, unselfish and naive by the standards of today. Goodness in heroines is out of fashion in fiction. But she is thoroughly human: “All those books, all those prayers and she had got nothing from them. When everything went well for her she had been able to pray, she couldn’t now. There was such urgency in her present situation that until the pressure was removed she couldn’t think about God. She hadn’t the patience to pray. It was a shock to her. Surely God was for these times?”

The way Ellen deals with what happens to her and makes a new life for herself and her children gives the novel its redemptive drive. There is a sense of people coming together, crossing social barriers, in a common humanity. Among them is an old lady in the retirement hotel where Ellen takes a job: “But Mrs. Brockington, old, alone, almost crippled by rheumatism, had faith and courage. She had more. She had a warm serenity, and when Ellen was with her, she almost had it too. For goodness is catching. Mrs. Brockington was further on the road Ellen wanted to travel, and because Mrs. Brockington had got there, Ellen felt she might get there too.”

It’s fifty years this month since Dorothy Whipple died. Her novels were hugely popular in the 30s and 40s; J. B. Priestley described her as a worthy successor to Jane Austen. But when Someone at a Distance was published in 1953 it attracted no major reviews. She wrote no more novels and died in 1966 believing that her work would be forgotten.

It will always be a mystery (because Virago has rescued so many marvellous forgotten authors) that when Carmen Callil and her colleagues at Virago in the seventies were deciding which books to republish, they claimed that Dorothy Whipples’s ‘prose and content absolutely defeated us’. They invented something which they called the Dorothy Whipple line, below which they would not go – meaning that they considered her too lowbrow. Jane Austen – as usual – hit the nail on the head when she wrote that one half of the world cannot understand the pleasures of the other.

Thankfully Nicola Beauman founder of Persephone Books didn’t feel the same way and has been vindicated in her championship. She published Someone at a Distance in 1999, the third in Persephone’s list, and subsequently many more of Dorothy Whipple’s novels: They Knew Mr Knight, The Priory, They Were Sisters, Greenbanks, High Wages, Because of the Lockwoods and The Closed Door and Other Stories. Dorothy Whipple is now Persephone’s best-selling author – and all this in spite of her surname which it must be admitted does make one think of a fancy pudding …

Wit, moral seriousness and a seeing eye. There are not many authors whom one can read over and over again with continuing pleasure and gratitude, but Dorothy Whipple is one of them.

 

 

‘Horribly good’ heroines?

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Agents, Elizabeth Bennet, Fanny Price, goodness, heroines, Jane Austen, Mansfield Park, Mary Crawford, moral fiction, Saki, The Story-Teller

A man in a railway carriage, driven to desperation by noisy small children around him being unsuccessfully entertained by their unimaginative and strait-laced aunt, shuts them up  with a story about a little girl called Bertha.

‘Was she pretty?’ asked the bigger of the small girls.

‘Not as pretty as any of you,’ said the bachelor, ‘but she was horribly good.’

There was a wave of reaction in favour of the story; the word horrible in connection with goodness was a novelty that commended itself. It seemed to introduce a ring of truth that was absent from the aunt’s tales of infant life. (from Saki’s The Story-Teller)

It looks as if adults don’t like heroines who are ‘good’ any more than children do. In modern fiction it’s difficult to think of more than a handful of heroines we might describe using the word. Is this because we no longer look to fiction for moral guidance or inspiration in the way that people once did?

This might help explain why Fanny Price is Jane Austen’s least popular heroine; she hasn’t aged well. Patience and gentleness and a faithful loving heart combined with strong principles were enough in a heroine at the time Jane Austen was writing Mansfield Park, but modern readers often find Fanny’s passivity spineless and her virtue irritating. They prefer the amusing and witty Mary Crawford, who takes active steps to get what she wants.

It may be that readers often dislike Fanny because she comes across as naturally good – and therefore difficult to identify with. There might even be a sense in which she shows us up, and we don’t like that either. She doesn’t make mistakes about people or find herself initially attracted to a dodgy man, like Elizabeth Bennet does. Elizabeth is morally upright, but she combines virtue with a sense of fun, dawning self-knowledge and awareness of her own errors of judgment; it’s not surprising that many people say she’s their favourite Jane Austen heroine.

I can’t think of a Fanny type heroine in modern fiction – and if a new author tried having one in a novel, agents would probably advise making them less wet. So is it that we don’t want heroines to be any more ‘good’ than we know ourselves to be?

Or can modern writers get away with a ‘good’ heroine if enough of their moral vacillation is shown? Maybe this is the problem with Fanny. Secret suffering and standing up for principles in silence: what’s the interest in that? But if a heroine is seen to struggle with moral choices, between right and wrong and the muddle between them, and then act on her decisions, her goodness is not the passive quality that we are warned to avoid when writing a novel.

 

 

 

 

Heart v Head

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EU referendum, Head, Heart, Jane Austen, Leave, Remain, Shakespeare

I’ve heard someone answer, when asked about the EU referendum, that their heart says Leave but their head says Remain. Heart v Head? That’s the theme of so many stories. A whole sub-genre of romantic novels, perhaps. Which are your favourites?

I first thought that Persuasion was in this category, but I’m not so sure now. When we get to the end we see that Heart wins, but by then we so much approve of Captain Wentworth that we would put Anne marrying him in the Head category too. Hmm.

In the typical Heart v Head story the presumption is that heart is in fact right.   Of course Jessica should elope with Lorenzo – they are young and attractive and in love. The practical and social downsides of this are simply discounted, or not even considered.

Can you think of a story where Head wins?

Thought not. As a writer, would you compose a story-line in which Head wins over Heart? Would such a novel work? Would people buy it?

(And how does that help decide over the EU …….. ?)

DO SHARE YOUR THOUGHTS…

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Feedback on posts, Jane Austen, Pride and Prejudice, The Gruffalo, Tolstoy, War and Peace

There is a ‘Leave a Comment‘ tab at the top right of these posts for any random – or profound – thoughts you may have on what we’ve written. This isn’t just meant for ninevoices, but for the whole wide world out there.

Please don’t be shy – we’d love to know what you think.

Barbara Pym and Jane Austen

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Alexander McCall Smith, Barbara Pym, Jane Austen, Philip Larkin, Salley Vickers, Virago Modern Classics

Jane Austen is even more revered in America than in the UK – if that is possible. The same might be said of Barbara Pym whom Alexander McCall Smith described as ‘a modern Jane Austen’. Both authors have distinctive instantly recognisable voices; prose which can be savoured over and over again.

Salley Vickers in her introduction to the Virago Modern Classics edition of Barbara Pym’s Less Than Angels explains the points of resemblance between the novels of the two authors as being ‘similarly restrained in tone, with that glimmering undersheen of English irony’. It is this perhaps that appeals so much to Americans.

At a recent meeting of the Barbara Pym society in London where members heard an altogether delightful lecture about servants and home help of all kinds in her novels it was noticeable that it was the Americans in the audience who asked the more rigorous questions. Barbara Pym’s work is included alongside Jane Austen in English literature degree syllabuses at American universities.

So-called quiet novels are liable to last longest in the collective consciousness, argues Salley Vickers, and that ‘nothing in Jane Austen’s lifetime compares with her current popularity; her tombstone in Winchester Cathedral makes no mention of her career as a writer.’

A connection between the two novelists that is particularly appealing is when Barbara Pym wrote to Philip Larkin: ‘Here I am sixty-one (it looks worse spelled out in words) and only six novels published – no husband, no children.’ He wrote back: ‘Didn’t Jane Austen write six novels and not have a husband or children?’

 

 

 

 

 

 

Jane Austen’s Embarrassing Aunt

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Cassandra Austen, Eavesdropping on Jane Austen's England, Jane Austen, kleptomania, Mrs Leigh-Perrot

Research is rewarding, but it’s easy to get sidetracked by fascinating snippets that have nothing to do with your own historical novel…

We all think Mrs Bennett the most embarrassing relative possible, but Jane Austen had an aunt who was even worse.

In August 1799 Mrs Jane Leigh-Perrot was arrested for stealing lace worth twenty shillings from Elizabeth Gregory’s shop in Bath. She was refused bail, but instead of being held in the County Goal at Ilchester was allowed to live with her husband in the adjacent prison-keeper’s house.

For a woman of rank, even this was intolerable. A sympathetic letter to her from a cousin says:  “You tell me that your good sister has offered you one, or both, of her daughters to continue with you during your stay in that vile place, but you decline the kind offer, as you cannot procure them accommodation in the house with you, and you cannot let these elegant young women be your inmates in a prison nor be subject to the inconveniences which you are obliged to put up with.”*

The “two elegant young women” were Jane and Cassandra Austen. Mrs Leigh-Perrot was their aunt.

At that time, high value theft was a capital offense, though juries usually refused to convict because of this. The gentry also had their own ways of avoiding the transportation which would probably have been the lot of a maidservant accused of stealing a piece of lace.

Mrs Leigh-Perrot was acquitted, with rumours of of the shopkeeper having been bribed to bring this about. She was subsequently accused of stealing a plant, in 1804, though no prosecution followed. An 18th century case of kleptomania, perhaps?

 

 

• From the extremely readable Eavesdropping on Jane Austen’s England, by Roy & Lesley Adkins

 

 

 

 

 

 

Darcy and Elizabeth – Again

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Alexander McCall Smith, American Wife, Curtis Sittenfeld, Eligible, Harper Collins, Jane Austen, Joanna Trollope, Northanger Abbey, Pride and Prejudice, Sense and Sensibility, Val McDermid

Can there ever be too much exposure to Darcy and Elizabeth?

Best-selling American author Curtis Sittenfeld thinks not. Talking of her new novel, Eligible, she says “I wanted (my book) to be an homage to Pride and Prejudice.  But I didn’t want it to be so similar that it didn’t contain surprises.”

Eligible is part of the Austen Project announced in 2011 by Harper Collins. First came Joanna Trollope’s contemporary version of Sense and Sensibility; then Val McDermid’s Northanger Abbey; followed by Alexander McCall Smith’s Emma.

None of these have been particularly well received, but Sittenfeld has written about the vexed question of class before, in American Wife, based on former first lady, Laura Bush. She thinks placing the story in contemporary America is valid. “The pressure to get married, or have children, still exists, it just exists much later,” she says. “I didn’t want to make the characters identical, but I did want to be able to use the same adjectives to describe them. So you could still say of my Darcy that he is smart, aloof, a little bit rude, but very ethical. Or of my Liz that she is bright, funny and inquisitive, but maybe a little antagonistic in some situations.”

Here is her opening:

“Well before his arrival in Cincinnati, everyone knew that Chip Bingley was looking for a wife.”

I guess this book will be like Marmite: you will either loathe or love it (with Austen purists almost certainly in the former category), but my appetite has been whetted.

The book will be out on April 21.