Jane austen

The jacket design of this splendid book shows Lewis Carroll’s Alice pulling back a curtain to reveal the door into Wonderland. In the original story, it leads to ‘a small passage, not much larger than a rat-hole’, at the end of which Alice notices ‘the loveliest garden you ever saw’. She is too large to squeeze through this doorway, but questions whether she might be able to defy the laws of physics and get into the garden anyway; after all, she tells herself, so many curious things have happened to her already that it seems ‘very few things indeed were really impossible’. It’s hard to imagine a better metaphor for reading a work of fiction.

‘It is a truth universally acknowledged that any essay about Jane Austen... must be in want of a poorly rendered paraphrasing of her most famous opening lines,’ writes Ella Risbridger in this sharp, gleefully obsessive field guide to romantic fiction. For her, Austen is the genre’s ‘mother’, and she crisply notes that while George Eliot disparaged ‘silly novels by lady novelists’, ‘she does appear to have read a lot of them’. Risbridger is the author of two cook books, including the award-winning Midnight Chicken (and Other Recipes Worth Living For); a children’s novel, The Secret Detectives; and the editor of anthologies of poetry and food writing. She has read a lot of romance novels, too.

Even if you’ve never seen Adrian Lyne’s 1987 thriller Fatal Attraction, you’ll know what a ‘bunny boiler’ is. When Alex (Glenn Close) slaughters her lover Dan’s family pet and leaves it simmering on the stove, she invented a universal shorthand for the obsessive, unstable woman who can’t take romantic rejection. In the film, Alex is portrayed as the destroyer of domestic happiness: an embittered career woman on the wrong side of 35, who is made literally sick when she spies on the contentment shared by Dan (Michael Douglas), his wife and his daughter. Audiences loathed her. Susan Faludi, in her book Backlash, reported cries of ‘Kill the bitch!’ and ‘Punch the bitch’s face in!’ during the film’s violent climax.

After Jane Austen’s death, her sister Cassandra destroyed the majority of her letters.  This act, often interpreted as an attempt to preserve Jane’s reputation, has had the opposite effect of fuelling fervent – at times prurient – speculation about what the letters contained. While Cassandra may simply have wished to shield her relatives from the lash of Jane’s sharp tongue, later writers, drawing on the author’s fiction and family lore, have surmised that the missing correspondence concealed evidence of a love affair. Such an affair formed the basis for Gill Hornby’s fine 2020 novel Miss Austen and now inspires Paula Byrne’s pleasant if unremarkable Six Weeks by the Sea.

Putting new wine into old wineskins is an increasingly popular fictional mode. Retellings of 19th-century novels abound. Jane Austen inevitably leads the way, with Val McDermid’s Northanger Abbey, Alexander McCall Smith’s Emma, Joanna Trollope’s Sense and Sensibility, and no fewer than four recent adaptations of Pride and Prejudice. Dickens, too, has been updated, with Michael Rosen’s Bah Humbug and Lorie Langdon’s Olivia Twist. Now Barbara Kingsolver pitches in with a contemporary version of David Copperfield. Her Demon Copperhead is a russet-haired, mixed-race boy from the backwoods of South Virginia.

We’ve all met the sort of facetious oaf who orders any non-giggling woman to ‘Cheer up, love, it might never happen’. As Timothy Hampton grasps, enforced cheeriness feels about as much fun as compulsory games. His invigorating book about the quest for true cheerfulness in literature and philosophy dismantles the various ‘prosthetic or counterfeit’ versions of the real thing that bullies, bosses, self-help gurus and household tyrants inflict on their victims. Jane Austen’s heroines, as he shows, chafe against the elevation of cheerfulness into a ‘social norm’. It suffocates them like stays: ‘Thou shalt be cheerful, at least if thou art woman.’ For sound reasons, the prospect of cheerfulness fails to gladden many modern hearts.