By Claudia L. Johnson, Clara Tuite
Reflecting the dynamic and expansive nature of Austen stories, A spouse to Jane Austen presents forty two essays from a wonderful staff of literary students that research the whole breadth of the English novelist's works and profession.
- Provides the main accomplished and updated array of Austen scholarship
- Functions either as a scholarly reference and as a survey of the main leading edge speculative advancements within the box of Austen experiences
- Engages at size with altering contexts and cultures of reception from the 19th to the twenty-first centuries
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Extra info for A Companion to Jane Austen
The Memoir records letters to children, a few to the adult family circle, and a few to public figures. But this is nothing compared to the 96 letters (all but two Austen’s) made public by Brabourne 13 years later. A generation younger, with no personal memories or perceived loyalties to muddy his contract with the reader, Brabourne simply saw his mother’s cache of letters as an “opportunity”: “. . no one now living can, I think, have any possible just cause of annoyance at their publication, whilst, if I judge rightly, the public never took a deeper or more lively interest in all that concerns Jane Austen than at the present moment” (Brabourne 1884: 1, xi–xii).
Letters: 167) We might describe these vagaries of a fiction-making mind, a feature of the letters from this unsettled period, as both practice and release; like The Watsons, for whose growth out of and into the events of her own life we can find particular evidence. Are these the first minisketches for novels never written and never really intended? In such moments Austen’s letters do seem like the decompositions we expect a novelist’s letters to be. Reading Austen’s letters from Bath, Lyme Regis, and Southampton is Jane Austen’s Life and Letters 25 to recover what the official biography continues to deny: the creative challenge and stimulus of alien surroundings.
Austen-Leigh 2002: 19) Claire Tomalin’s recent reinterpretation of the materials elicits the verdict that Cassandra was “the moon and shadow to Jane’s brightness” (Tomalin 1997: 195). There is perhaps an allusion here to the Gothic coloring of some late twentieth-century revisionist readings of the relationship: Cassandra as the repressive force compelling Jane into premature social retreat, through their ridiculously early rejection of romantic love and their compact of emotional withdrawal.
A Companion to Jane Austen by Claudia L. Johnson, Clara Tuite