Review by Arti of Ripple Effects
The first challenge you face when writing about Pride and Prejudice is to get through your first sentences without saying, “it is a truth universally acknowledged…”
—– Martin Amis
Isn’t it true that these words from the clever and satirical opening line of Jane Austen’s Pride and Prejudice have been so overused that they have sadly become a cliché in our contemporary language, together with ‘zombies’ and ‘vampires’.
So what did I expect from a book entitled A Truth Universally Acknowledged: 33 Great Writers on Why We Read Jane Austen? (Buy online at our giftshop!)
I admit, at first I thought it was a literary version of those lifetime achievement award presentations, where the honoree is showered with superfluous speeches by his/her peers, over champagne and frivolous dinner, something which Jane Austen herself would abhor.
I found out soon enough that between the modest and classic looking covers, Susannah Carson, the editor of the volume, had gathered the essays of 33 writers, not toasts or roasts, but detailed biographical notes, thoughtful musings, heartfelt admiration and in-depth analysis of Austen characters and works. It is a collection of articles stemming from a balanced fusion of sense and sensibility, something that Austen herself would have approved.
Included are literary figures from the late 19th to 20th centuries like E. M. Forster, W. Somerset Maugham, C. S. Lewis, Eudora Welty and Virginia Woolf. Contemporary contributors include writers, academics, Austen historian, and screenwriters. There are views from Harold Bloom, Lionel Trilling, Janet Todd, Anna Quindlen, A. S. Byatt, Amy Bloom, to name a few. All of them point to Austen’s inimitable humor, incisive observations of human nature and unwavering moral stance that make her works still relevant two hundred years later today.
The following are some samples from this smorgasboard of Austen delights.
Harold Bloom, writing the preface, concludes with these lines:
“We read Austen because she seems to know us better than we know ourselves, and she seems to know us so intimately for the simple reason that she helped determine who we are both as readers and as human beings.”
Anna Quindlen, defending the subject matter in Austen’s works being mainly about the family (it’s a pity that she even needs to do this):
“…[Austen was] a writer who believed the clash of personalities was as meaningful as—perhaps more meaningful than—the clash of sabers. For those of us who suspect that all the mysteries of life are contained in the microcosm of the family, that personal relationships prefigure all else, the work of Jane Austen is the Rosetta stone of literature.”
Austen once referred her own writing as “the little bit (two inches wide) of ivory on which I work with so fine a brush, as produces little effect after much labour.” Screenwriter and director Amy Heckerling, who has adapted Emma into the movie ‘Clueless’, compares Austen’s writing to a Vermeer painting:
“Sometimes the finest brushes paint the biggest truths.”
James Collins, a writer and editor, and frequent contributor to The New Yorker, shares a very personal view:
“I find that reading Jane Austen helps me clarify ethical choices, helps me figure out a way to live with integrity in the corrupt world, even helps me adopt the proper tone and manner in dealing with others… Reading Austen I sometimes feel as if my morals are a wobbly figurine that her hand reaches out and steadies.”
But she is not all didactic and stern… far from it. Jane Austen has long been celebrated for her animated humour and witty ironies, the essence of her writing. I love this analogy that Collins uses:
Her ironies swirl and drop like the cast of a fly fisherman. This rhythmic motion seems to me ideal for both accepting and rejecting the ways of the wretched world while maintaining balance.
Demonstrating the relevance of her satires for today, Benjamin Nugent, the author of American Nerd: The Story of My People, discusses the nerds in Pride and Prejudice, Mary Bennett and Mr. Collins, and why they miss out on life.
“If you read sci-fi novels, you’ll generally read about worlds in which scientists and the technologies they create drive the plot; if you read Austen, you’ll read about a world in which technology means nothing and the triumphs and failures of conversational agility drive everything.”
His advice for modern day nerds:
“Young nerds should read Austen because she’ll force them to hear dissonant notes in their own speech they might otherwise miss, and open their eyes to defeats and victories they otherwise wouldn’t even have noticed. Like almost all worthwhile adolescent experience, it can be depressing, but it can also feel like waking up.”
It takes a sharp ear and intelligence to be a good humorist, and Austen shows that she has what it takes to be one at an early age. About her prodigious talent, Virginia Woolf praises her first work, the novella Love and Friendship, written when Austen was only 15:
“an astonishing and unchildish story… Spirited, easy, full of fun, verging with freedom upon sheer nonsense–Love and Friendship is all that… The girl of fifteen is laughing, in her corner, at the world.”
Indeed, as editor Susannah Carson has stated, any hint of ‘romance’ in her novels is merely the irony of it. About the seemingly unconvincing romantic plot in Northanger Abbey, Carson asserts:
“What if Austen actually intended the romance plot to be unconvincing? … It is probable… that Austen intended the failure of the romance plot, not to sabotage her own work, but to make a point about romance plots in general… that [they] are inherently artificial.”
That Northanger Abbey is a satire on the gothic novel has long been noted. Other writers also stress that Austen should not be labelled as a ‘romance writer’ because of the satirical styling behind her writing. W. Somerset Maugham keenly observes: ”She had too much common sense and too sprightly a humor to be romantic.”
In his essay ‘Beautiful Mind’, writer Jay McInerney bravely admits that: “If my actual romantic life has sometimes been influenced by superficial considerations, as an Austen reader the basis of my affections has been almost entirely cerebral.
Amy Bloom sums it up succinctly about this common confusion about romance and love:
“Jane Austen is, for me, the best writer for anyone who believes in love more than in romance, and who cares more for the private than the public. She understands that men and women have to grow up in order to deserve and achieve great love, that some suffering is necessary (that mewling about it in your memoir or on a talk show will not help at all), and that people who mistake the desirable object for the one necessary and essential love will get what they deserve.”
To master such a distinction could well be one of the main reasons why we read Jane Austen.
List Price: $25.00
Hardcover: 320 pages
Publisher: Random House; 1 edition (10 Nov 2009)
Arti reviews movies, books, arts and entertainment on her blog Ripple Effects. She has pleasure in many things, in particular, the work and wit of Jane Austen.