A heavy responsibility well acquitted

Diana-Wynne-Jones

Diana Wynne Jones
Reflections: On the Magic of Writing
Foreword by Neil Gaiman

Greenwillow Books 2012

Where to start? Diana Wynne Jones was a very individual and distinctive voice within British fantasy writing, highly regarded and rightly so, though that recognition was perhaps long coming: for example, though I was aware of the name I only first read her work in 2004, on a strong recommendation, beginning with The Merlin Conspiracy. However, from then on I was hooked. She had a growing loyal following from the mid-seventies onwards, but perhaps the fillip to her popularity came with an audience keen for more fiction along the lines of the Harry Potter books, aided by the success of the Japanese animated film of her Howl’s Moving Castle. Sadly, within a relatively little time she discovered she had cancer, dying just two years later in 2011.

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A slow smouldering

Old Place, Linfield, Sussex, one possible model for Poynton
(credit: http://www.geograph.org.uk/photo/4639885)

Henry James: The Spoils of Poynton
Edited with an introduction by David Lodge, notes by Patricia Crick
Penguin Classics 1987 (1897)

This is an extraordinarily intense novella: intense in its use of language and intense in its unremitting focus on just two or three characters. First and foremost in the cast list is Fleda Vetch, a young woman whose superior quick-wittedness and taste are balanced by her apparent plainness and moral rectitude; next is the manipulative Mrs Adela Gereth, a widow to whom the unmarried Fleda becomes a companion. Owen Gereth, Mrs Gereth’s son, has lately inherited Poynton Place, thereby becoming a most eligible if rather vapid bachelor. Further down the cast list come Mona Brigstock, a philistine but strong-minded young woman, as manipulative as Mrs Gereth, and her mother Mrs Brigstock. Fleda’s sister Maggie and a scant handful of other individuals have even more minor parts, either walk-on/walk-off or completely offstage.

I use the phrase cast list intentionally: James apparently used his failed attempt at writing for the stage to better effect here. We have set ‘scenes’, played out on a limited number of stage sets; and — in the manner of Ibsen, for instance — all the attention is placed on the psychological drama. The main crises of the narrative, and the final climactic incident, essentially take place ‘offstage’; foregrounded are the ever-evolving to-and-fro of relationships and interactions.

And what are these relationships and interactions? Essentially they’re founded on the fact that Mrs Gereth’s impressionable son Owen has fallen for the pretty but rather vulgar Mona, who it soon becomes clear will have no intrinsic appreciation for the antique treasures that the elder Gereths have accumulated over a lifetime at Poynton. Under the terms of her late husband’s will Mrs Gereth will be forever separated from both the house and its possessions unless she can persuade Owen to fall for a more suitable young woman, one with taste and sensitivity, one who can cajole Owen into letting his mother continue in residence; in short, one Fleda Vetch.

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Of blunders and pardons

The manor house at Steventon (where Jane’s father was rector) — perhaps a model for Hartfield.

Following a review I’ve discussed the who, when and where of Jane Austen’s Emma, and then intimated I’d get onto the what. In this post I plan to briefly discuss the novel’s structure before bringing out some themes, chiefly by means of what the characters say. Needless to add, this is not meant to be an exhaustive or detailed analysis, merely a sketch of what has struck me about this superbly crafted novel.

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Of Highbury, in Surrey

I promised some musings on the subject of Jane Austen’s Emma, based on notes taken while reading it for the first time, and so here is my offering … while it is still fresh in my mind. As regular readers will be familiar from previous musings on novels that have caught my fancy, I’ve mainly based my thoughts on the four ‘W’s — who, what, when and where.

Here comes the customary warning of spoilers.

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Walk into my parlour

Jane Austen Lady Susan
(in Northanger Abbey, Lady Susan, The Watsons and Sanditon
Oxford World’s Classics 2008)

Will you walk into my parlour?” said the Spider to the Fly,
‘Tis the prettiest little parlour that ever you did spy;
… Oh no, no,” said the little Fly, “to ask me is in vain,
For who goes up your winding stair can ne’er come down again.”

My July 2013 review of Austen’s Lady Susan, reposted just as a film adaptation arrives in cinemas (though now rebranded with a completely different Austen title as Love & Friendship — written when she was in her early teens) Continue reading “Walk into my parlour”

Opening the door on Jane

knocker

Penelope Hughes-Hallett ‘My Dear Cassandra’:
Illustrated Letters of Jane Austen

Collins & Brown 1991 (1990)

The late Penelope Hughes-Hallett (she died in 2010) had the great fortune to be brought up in Steventon in Hampshire, Jane Austen’s birthplace and where the future novelist herself lived between 1775 and 1801, so it’s not a surprise that she maintained a lifelong interest in the Regency author. In ‘My Dear Cassandra’ she makes a selection from the letters Jane wrote to her older sister, introducing key periods in Jane’s life (changing residences in Steventon, Bath, Southampton, Chawton and Winchester) and supplying a linking commentary. Hughes-Hallett clearly knew her stuff, highlighted by the way she elucidates obscure references in the letters and cross-references the numerous personages with whom Jane was acquainted.
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