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Tales Between the Pages

A Reader's Guide to Authors and Books www.talesbetweenthepages.com

Currently reading

The Princess Bride: S. Morgenstern's Classic Tale of True Love and High Adventure: The "Good Parts" Version, Abridged
William Goldman
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Sarah Addison Allen
Progress: 33 %
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Why Jane Austen?

Why Jane Austen? - Rachel Brownstein Origianlly published at www.talesbetweenthepages.com

I tend to study early American women authors, but Jane Austen is a particular British favorite of mine. The problem with Austen is that the rest of the world is equally fascinated with her; there are SO many sequels, papers, and academic books written on her that the field of Austen studies should be saturated and in no need of further contributions. I expected Why Jane Austen? to be redundant and dull, but found that Brownstein actually accomplished something amazing – new contribution to Austen studies.

Brownstein uses “biographical criticism” (using Austen’s life to uncover clues in her writing) to examine the inconsistencies with modern interpretations of Austen’s work and her intended meaning. In a general sense, many modern readers read her stories because of how romantic they are. By exploring Austen’s life in an intimate way, Brownstein shows us that only considering her work romantic does not do her, or her work, justice. We have romanticized the author and transformed her from “a thin-lipped old maid” to a “glamorous popular celebrity.”

Brownstein also makes an intriguing connection between Jane Austen and Lord Byron, suggesting that Colin Firth’s steamy portrayal of Mr. Darcy illuminates the “Austen-Byron connection,” a literary connection that shows Austen’s relationship with Byron’s poems and how they might or might not have impacted her writing. Both authors imitated and mocked romance, yet Byron was the celebrity during the time period. Jane’s work was published anonymously for quite a long time. Interestingly enough, Brownstein proves that Byron, the celebrity writer of the late eighteenth century, has lost the attention of modern readers while Austen, who was not as popular, has skyrocketed to celebrity status in the modern era. Plain and ordinary Austen has achieved the kind of lasting power that most authors only dream of.

I don’t have any particular problems with this book. It is pretty standard fare if you read academic monographs on a regular basis. Even for the every day reader, Why Jane Austen? can definitely be a worthwhile read, especially if you’re interested in the subject matter. Brownstein doesn’t give us a comprehensive biography of Jane Austen’s life (this is a good thing, as it has been rehashed over and over again by several different scholars), but she does give us new ways of thinking about Austen and a fresh perspective on her lasting influence. I especially loved that Brownstein included a section on modern interpretations of Jane Austen’s style. The most interesting was her reading of Ian McEwan’s Atonement, a take on “truth, universally acknowledged” and Jane Austen’s penchant for country manors. I read Atonement several years ago (didn’t particularly like it – it was just ok), but Brownstein’s reading of it makes me want to revisit it again and look at the relationship McEwan has with Austen.

If anything, Rachel Brownstein gently scolds those of us who only see Austen as a writer of romance. In showing us bits and pieces of Austen’s life, she shows us the complexity of her writing – which is ultimately the reason why her writing has such staying power. “First Impressions” was the original title for Pride and Prejudice. Perhaps our own first impressions of the novel, like Elizabeth and Darcy’s first impressions of one another, are wrong.