Little Miss Austen, 'Sense and Sensibility'. by Alison Oliver and Jennifer Adams

Here is a delightful new book that some of you might be interested in:  a 'Sense and Sensibility' board book for children.  It is produced by the same clever people who brought us the 'Pride and Prejudice' baby board book, Alison Oliver and Jennifer Adams.  Once again they have proven, that one is never too young to enjoy Jane Austen.  This beautifully produced BabyLit book, is bright, colourful and full of irony, that will not be lost on the adult reader.  As such, it is very much in the Austen vein and at under €7 from the Book Depository (including postage) this is one not to be missed, for ages 0 to 103.  Guaranteed to make you smile.

This version of Sense and Sensibility deals with opposites - could there be a more pertinent theme where Marianne and Elinor are concerned?

 Indeed, the novel, as we are simply shown, is full of opposites.  

Willoughby and Colonel Brandon...

The girls at the beginning and the girls at the end...

Norland Park and Barton Cottage...

The list goes on and on.  A worthy buy, for the delicious illustrations alone.

Death Comes to Pemberley ~ P.D.James

It is a truth, universally acknowledged that 'Pride and Prejudice' sequels are usually best avoided at all cost, but not so with P.D. James's 'Death Comes To Pemberley'. It is a rare thing to finish a novel with such a sense of contentment as I feel on finishing this delicious book.  Using the obligatory chocolate analogy, one would have to say that this book has all the feel of Galaxy chocolate, but with a slightly different flavour to it.  Mint or perhaps cinnamon? 
The true wonder of this book is how well ninety-two year old novelist P.D. James captures the nuances and sensibility of Jane Austen's writing-style. Her diction is almost an exact match, with her pages of dialogue being the most impressive.  There is not a syllable said by either Darcy or Elizabeth, now somewhat jarringly referred to as Mrs Darcy, that Austen herself could not have written.  It is clear that James researched her subject meticulously, indeed she is herself a self-confessed Janeite and an Austen aficionado of the highest order.
For me, P.D. James is to Jane Austen documentaries what Dame Judi Dench is to period drama: you really can't have one without the other.  So to learn that James had decided to write the one definitive 'Pride and Prejudice' sequel seemed too good to be true. The result was an overwhelming success and from here on in, a line can be drawn under the whole Jane Austen prequel/sequel phenomenon.  Quills down ladies - we have a winner!
Let us consider the plot of James's novel.  Without giving anything away, there is a murder at Pemberley some six years after Darcy and Elizabeth have set up home together.  There is an inquest and a trial and that is it.  In some ways the book begins and ends in the same way as 'Pride and Prejudice', with the arrival of a gallant stranger into the neighbourhood, with questions of the suitability of a possible suitor, and an ending very much in keeping with the Austen conventions that we are familiar with.
Yes,the plot is indeed that simple, but as with Austen, the real delight for the reader is the interplay of characters and the sparkling dialogue.  In this especially, James has kept true to the original style of the 'mother' novel.  It is simply delightful to hear Elizabeth and Darcy re-visit moments from their past and take up where they left off from 'Pride and Prejudice',as if the intervening two hundred years, were as unimportant to the reader as an ad-break to modern television audiences.  Similarly, characters like Jane and Mr Bennet wander into the story, using the phrases and idioms that we have long associated with these characters, and one cannot help but smile to hear them chime together in a worthy novel once more.  
And the resurrection of such familiar characters is not limited to the pages of 'Pride and Prejudice'.  No indeed! We hear mention of Emma and Mr Knightley, Harriet and Robert Martin, from 'Emma' and Sir Walter, Anne Elliott and Captain Wentworth from the posthumous novel 'Persuasion', which serves only to enhance the pleasure for the more avid Austen fans.  Indeed, aspects of the story reflect other novels too, such as 'Sense and Sensibility' and even 'Mansfield Park', but to mention them here might impinge on the enjoyment of others.  
One aspect of the novel which is entirely James's own, is her knowledge of the legal system during the Regency period,and an in-depth knowledge of the the physicality of murder and the damage that a blunt weapon can inflict on the human body.  But fear not, this is not such a gruesome tale as all that, and the 'death' of the title, it seems to me, reflects more about the death of Darcy's pride than of anything else.  He is forced to face the flaw that almost cost him his happiness with Elizabeth in the original text and to put old grievances finally to rest. 
Similarly, the atmosphere of the novel is also true to Austen's style.  It glides along at a slow, elegant pace, with the quiet ease of satin-soled slippers on a marble floor.  And it is this aspect of the novel that separates this sequel from all others.  Being a novelist of such a high standing herself, P. D. James has, perhaps, not the pressures that less well-known, younger writers might have, believing that their novels must be rip-roaring page-turners if the reader is to remain engaged.  Here James shows her master card; being of a generation that was born between the World Wars, where life did move at a slower pace than today, James can easily slip into the more authentic Austen style of writing, where life moves to a more leisurely rhythm, which is something to be relished and enjoyed in such a novel.
The resulting effect of all this mimicry and mirroring, is to create a sense that the shadow of Jane Austen lurks amid the pages of this fine book.  It is as if the long dead Jane is standing just behind the shoulder of the author, guiding her hand and smiling.  There is nothing here to offend the staunch J. A. fan, so feel free to dispense with the guilt that Austen fans often feel as their hands reach out for the latest 'Pride and Prejudice' sequel.  I often worry that I should not be wasting my time with some second rate sequel when I could be re-reading an Austen original.  Yet here, we can have all of the enjoyment and none of the regret:  we can return to Darcy and Elizabeth, while savouring the joys of a highly crafted novel by one of the great living writers in the English language.  It's chocolate, but without the guilt?  Now there's a novel thought.  

Falling for Captain Wentworth

'Hmmm. How can I show the Captain that I'm not so easily persuaded...'

Fan art by L. D. for JASI (c) 20013

The Private Diary of Mr. Darcy by Maya Slater ~ a book review

I enjoyed reading this version of Pride and Prejudice, told from Darcy’s point of view, simply because I enjoy all things Austen.  However, the author does make a few noteworthy changes to the plot line, most specifically with regard to Darcy’s friendship with Lord Byron.  This idea is quite interesting.  As Darcy did mix in the same society as the infamous poet, it is entirely probable that they knew one another. They certainly both were uncommonly fond of their sisters, although Byron, perhaps, took that sentiment to extremes.  

However, I cannot allow the idea that Darcy was 'tinkering' with the girl from below stairs in his bedroom, while Lizzy and Jane slept a few bedrooms away in theirs, during their stay in Netherfield.  It is shocking even to consider!  But, undoubtedly, the temptation to write a few passionate, period 'love scenes' featuring Fitzwilliam Darcy was obviously too great to resist. 

Yet, perhaps, Darcy was a man of the world, although I think his distaste for Wickham's wild behaviour while at college, would seem to suggest that he was above such clandestine activity and in his friend's house too! 
 Still, it was interesting to revisit Austen's story from a different perspective, especially noting when first Darcy began to fall for Lizzy and how he was wonderfully oblivious to Caroline Bennet's obvious (and desperate) attempts to flirt with him.  This was particularly enjoyable and clever too, as it was somewhat reminiscent of Austen's tongue in cheek style.  It was wonderfully pleasing to see what Darcy could not see, knowing, as we do, how Caroline desired him for a husband.  He is tantalizingly close, but just out of her grasp.  Poor Caroline!
This is not a serious book, but rather a bit of fun between reads, and for that I recommend it to all Darcy fans and deserving friends!

JASI Dublin 

A Closer look at 'The Lizzie Bennet Diaries' by Mike Dolan

It is a truth universally acknowledged that 'Pride and Prejudice' is one of the most classic novels ever written. For centuries it has enthralled readers with its biting wit and charming characters, and the snapshot it provides of nineteenth-century culture is a large part of what makes it such an intriguing story to consume. As such, it is no wonder that countless people have retold this story through different lenses - from the 1995 BBC miniseries to Bridget Jones, Lizzy and Darcy's story has been permuted and filtered into different forms, in many cases so far-gone from the original text that one must search deeply to find the connections between them. But perhaps the most daring adaption produced thus far has been the web series 'The Lizzie Bennet Diaries', which ran over the course of a year and told the story of 'Pride and Prejudice' through the medium of the video blog of a twenty-first century graduate student. It showed her coping with the trials and tribulations of dealing with her two sisters, Jane and Lydia, her mother's frantic attempts to marry them off before they are evicted from their house, and (most importantly), how she fell in love with William Darcy, the wealthy CEO of a technology company, Pemberley Digital.

Anybody who has read the novel will have cocked their head at this synopsis which is so very similar yet so undeniably different to the original - and understandably so. But what makes the web series so fascinating is the broad way in which it adapted the novel - it sacrificed the petty details and updated others to make for a story which held the same weight which the original did at the time it was written. This thread of updating rather than emulating is sewn throughout the series with a fine hand - Charles Bingley, the wealthy bachelor of the novel, becomes Bing Lee, a medical student with a promising future. The number of Bennet sisters is reduced from a hectic five to a more manageable, modern, three (although Mary and Kitty both have occasional appearances as a cousin and a kitten, respectively). The impetus for Mrs. Bennet to marry off her daughters is changed from an unwritten social expectation to a pressing financial requirement, echoing a struggle many people face in the modern day, making the situation much more understandable. 

But the alterations to the story stretch far further than in names and numbers. The series' depiction of women and power is one which is far more fitting for a modern world than the outdated customs of the novel. In a time where a woman couldn't own property, vote, or hold any meaningful career, Lizzy Bennet stood out as a feminist heroine, challenging the cultural perceptions and ideas which clouded the views of the people of the time. She was not content to be told whom she had to marry, she turned down two marriage proposals from wealthy men, and she was in all parts a "headstrong, obstinate girl" who was never afraid to speak her mind. But when this 1800s heroine is lifted straight out of the pages of the book and flung carelessly into the modern day, it is all too easy for her to lose that unique sarcastic edge which makes her so likable. 'The Lizzie Bennet Diaries' chose to present her struggles and decisions in a modern-day context while letting her retain the sassy, self-assured personality which defines her as a character. This freedom to let her be herself is something which is offered to all of the characters - Lydia is just as reckless and carefree as she was before, Jane is just as lovely and wholesome, Mrs. Bennet is still a parodic pastiche (although we only see her through Lizzie's imitations). After all, what makes the novel so memorable is the distinct characters who inhabit its world. They are all unique people in their own right, and 'The Lizzie Bennet Diaries' managed to preserve this while still making the characters people you can imagine existing in the real world.

Of course, one can't discuss the characters of the novel without also discussing their individual stories. Each has their own side-plot which keeps you interested in them and ensures that they always remain at the forefront of your mind. This, again, is something which the series excelled in preserving. Instead of being the all-consuming social prison sentence marriage once was, it is now a lot freer as a concept, and not nearly as wrapped up in the concepts of wealth, class, and social standing. As such, the series had to find a new way to represent what a marriage proposal meant, and why turning one down was so unusual. In the novel, Mr. Collins's proposal would ensure Lizzy a reasonably well-off life, a home to live in, and lots of opportunities to have children. But in the series, Mr. Collins instead offers her a job with his company, funded by his venture capitalist Catherine de Bourgh, which, considering the Bennet family's financial standings, would be insane to turn down. Lizzie refusing the offer is something that, while appearing perhaps an obvious choice to the reader, is now seen as a lot more of a moral dilemma to the viewer. And in our society, where eloping with someone no longer means cutting yourself off from the rest of the world, George Wickham marrying Lydia doesn't mean nearly the same thing as it did in the novel. Again, the series decided to emphasise how poor Lydia's decision was by mutating it into something which could have ruined her future had it not been stopped, through his threat to release a sex tape of her. 

Over all, 'The Lizzie Bennet Diaries' was a fantastic idea wonderfully executed. Far too often, 'Pride and Prejudice' is brushed aside as boring, uneventful, and inaccessible. But the series managed to prove that the novel's characters and themes are just as important now as they were then - though some details were changed to make them more relatable to a modern audience, some plot lines altered to make them more impactful, the story and its core message remained fundamentally the same. It is the same story it always was. It is still a story about love and hate, marriage and independence, and pride and prejudice.

Jane Austen's 'Pride and Prejudice' ~So simple, it's child's play

Here is a blog post that I wrote some months ago, but which I thought some members in the JASI might enjoy, especially in the bicentenary year of 'Pride and Prejudice'.

Have you ever felt that there is something missing from your life?  Well, I have found what that 'something' is:  The Jane Austen, 'Pride and Prejudice' Baby Board Book!  This is and is not what you are thinking.  No, it is not a book about child-rearing Jane Austen style, although I suspect some Janeite somewhere in the world is working on that project as I type.  But yes, it is a book for babies.
How is that possible?  How can a mere child appreciate the pertinent prose, witty witticisms and clever character creation that we associate with Jane Austen?

  Well the awfully talented artist and author duo, Jennifer Adams and Alison Oliver, have come up with the solution to that very problem....
by making a beautiful book that babies will enjoy, on a very simple level.  And what do little folk like doing... apart from chewing?  Counting!

Yes - this is a Jane Austen, 'Pride and Prejudice', baby counting book ... I kid you not.  'One English village.... two handsome gentlemen... three big houses...' you get the picture?

Indeed, the pictures are the most appealing thing about this little jewel of a book.  The illustrations are simply adorable, which brings me to my main point.  This is not actually a Jane Austen baby book... but a Jane Austen mummy book.
This book is so deliciously charming, it will make you feel complete, whole and happy with your lot in life.  Failing that, it will give you something nice to look at when you have finished dashing about and finally sit down with your child for some one on one time.
 It will also put a smile on your face as you teach your child how to count:   'Yes, five sisters, one who is very silly, another who is very pretty and one... just like your mummy; who is very, very clever.'  An added bonus is that this is one book purchase that you don't need to feel guilty about - it is educational after all.

My final word:
Only very clever mummies will buy this book but only very silly mummies will actually let their children play with it... especially for those kiddies who prefer chewing to counting.

#Onefortheshelf.

By Michelle Burrowes JASI Dublin

Jane Austen and the Donegal Connection.

Dr Sophia Hillan has kindly provided this article on her book, 'May Lou and Cass: Jane Austen’s Nieces in Ireland,' for the JASI, for which we are very grateful.  

When Jane Austen’s niece Anna began to try her hand at writing, her aunt gave her two pieces of advice. One was to keep to two or three families in a country village, and the other was to avoid writing about Ireland. ‘You know nothing of the manners there,’ she told her. She could never have guessed that three of Anna’s cousins, Marianne, Louisa and Cassandra Knight — May, Lou and Cass — would live out their lives there, through famine, bitter land wars and political upheaval,  or that they would lie buried,  far from England,  in almost forgotten graves. She might have been more surprised still to discover that they would most uncannily live out the plots of her novels,

            I have had the privilege of telling their story, with its uncanny echoes of Jane Austen’s plots, in May Lou and Cass: Jane Austen’s Nieces in Ireland. There was no need to write it as a novel, for the facts of their lives are stranger than fiction. Yet, theirs was a story played out far from the Regency world where these girls  grew up,  expecting to live  a calm and ordered life in England. Their father, Edward, Jane’s older brother, was more fortunate than his siblings in being adopted by wealthy relatives, and his eleven children grew up comfortably between his country estates in Kent and Hampshire. A bank failure in 1816 then caused Edward to suffer heavy losses, as Cassandra Jane, the youngest of the sisters, realized when she met her real life Mr Darcy, in 1827.  Like Elizabeth Bennet, she was twenty: he, a handsome Irish nobleman named Lord George Hill, was twenty-five. Jane had been dead for ten years: yet here was one of her plots unfolding. They fell in love: he proposed, and she accepted. Then his mother, the formidable Lady Downshire, forbade the match, dismissing Cassandra in a phrase worthy of Lady Catherine de Bourgh herself: "No money: all charms!". Jane Austen knew that a young man, however handsome, needed money to survive in the world. Lord George, a career soldier, had charm, education and looks but, as a posthumous son, very little money, and none if he offended his mother. It took her eight years to relent, during which time, just like Anne Elliot in Persuasion, Cass almost married someone else. In the end it was  Jane’s sister Cassandra Austen, who persuaded Cass, sitting in Chawton Cottage where Jane had written her finest work, that she must not marry the wrong man. No sooner had she done so than Lord George himself, to everyone’s delight, arrived in person at  Chawton Cottage, and renewed his proposals. Everything seemed perfect again.

Or, was it? Cass married Lord George, in a grand society wedding at St George’s, Hanover Square, on a blustery October day in 1834.  It should have been joyous. Yet, the weeks and days before,  full of  whirling autumn storms, rainswept journeys and catastrophes— like the burning down of the Houses of Parliament — make it seem more like a  tale by Charlotte Bronte  or Charles Dickens than Jane Austen. Cassandra ‘looked like a victim’, her brother Charles wrote, ‘as if she was going to be buried alive’. It was an inauspicious beginning. As Jane Austen hinted at Persuasion’s end,  no-one can guarantee happiness in dangerous times, and these young  people were about to leave for Ireland, where  the inevitability of dangerous times was a given.

            Eight years later Cassandra died, suddenly, following the birth of her fourth child. What was Lord George to do?  In Persuasion, Jane Austen has Anne Elliot suggest that a man’s love does not survive the death of the beloved. Captain Wentworth indignantly asserts the opposite.  It seemed that Anne was right: after Cassandra died in 1842, it fell to Lou to leave her family, move to Ireland and bring up  her sister’s four children.  By 1847, she and Lord George were married. It was not straightforward: under Lord Lyndhurst’s Act of 1835, marriage to a deceased wife’s sister was forbidden, and they had to marry abroad. In 1851, the case was discussed in the House of Lords. Poor Louisa, still struggling with the realities of life in famine-stricken Ireland, had to endure an investigation to establish whether she and her family were  now acceptable to society. George Eliot or Anthony Trollope might have tackled that: hardly Jane Austen.

Marianne — May — the third of the sisters, was thought by the family to be ‘very like poor Aunt Jane’. Slight and dark, sharing her aunt’s clear eye and lively wit, she was considered ‘bewitching beautiful’ by her cousin James Edward Austen Leigh, Jane’s first biographer.  Still, someone, had to look after the family’s widowed father, Edward, when the two eldest girls, Fanny and Lizzy, married so, like Jane, she was relegated at nineteen to the role  of spinster aunt, dependent on the men of her family. She ran her father’s great household,  without complaint, for over thirty years until, on her father’s death, her brother, like Sense and Sensibility’s John Dashwood, required vacant possession, and Marianne lost the only home she had ever known.  Over the next thirty years she moved from brother to brother as housekeeper until, in 1884, almost eighty-three, with no more brothers to look after, she travelled to Donegal to care for her last sister, Louisa,  remaining even  after Louisa died, through all the upheaval of Land War and Home Rule agitation,  until her own death in 1895.

She is buried beside Louisa, on a windswept hill  in Donegal.  Lord George, however, is not there.  Like Captain Wentworth, he remained in his heart true to his first love, Cassandra.  They were buried together, ten miles away: Louisa lay alone until Marianne joined her.  Jane’s nieces,  three clever, brave, pioneering women, did not ask to go home to England. There was no need: they were already home.

 Dr Sophia Hillan was Assistant Director of the Queen’s University of Belfast’s Institute of Irish Studies. Her

publications include, In Quiet Places: Uncollected Stories, Letters and Critical Prose of Michael McLaverty (1989);  The Silken Twine: A Study of the Works of Michael McLaverty (1992) and The Edge of Dark: A Sense of Place in the Writings of Michael McLaverty and Sam Hanna Bell (2001). 

Read Sophia's Blog at www.sophiahillan.com