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Inquiring readers: Not often does news of great import come our way, such as this item unearthed from the depths of Andrew Capes’s crashed computer. His having retrieved it is nothing short of miraculous, for now he can share the rest of Charlotte Collins’ story with the world. If you found this news item as intriguing as I did, please let him know what you think of it in the comment section below! Article copyright (c) Andrew Capes.


Extract from the Hertfordshire Gazette, June 1876

Obituary Notice

Mrs Charlotte Collins of Longbourn Hall


We have been saddened recently to receive

notification of the death at the end of May, at

the advanced age of 92 years, of Mrs Charlotte

Collins, née Lucas, widow of the late Reverend

William Collins, of Longbourn Hall, near

Meryton. Mrs Collins is survived by her only

son, Thomas Collins, his wife Mary (née

Bennet), and her grandson, the Rt Hon. Sir

Timothy Collins PC, all of whom continue to

reside at Longbourn Hall.

 

Mrs Collins’s funeral at Meryton was attended

by a distinguished gathering of friends and

relations, many of whom had travelled great

distances to be present. Several members of the

extended Lucas family were there, although

Mrs Collins had outlived all her immediate

relations, and there were also representatives

and descendants of the former Bennet family,

with whom the Collinses had maintained

intimate connections for a great many years.

Among the latter were Mrs Elizabeth Darcy,

widow of the late Mr Fitzwilliam Darcy of

Pemberley in Derbyshire, and her niece, Mrs

Jane Lucas, daughter of the late Mr & Mrs

Charles Bingley of Freshfield Park in Yorkshire,

who is also the late Mrs Collins’s sister-in-law.

The occasion was graced with the presence of

Lydia, Lady Wickham, widow of Lieutenant

Colonel Sir George Wickham, Bart., late hero

of the French, American, and Affghan

campaigns. The Dowager Lady Wickham has

recently returned from India to pass her

remaining years with her son, Sir Arthur

Wickham de Bourgh, at his family home,

Rosings Park in Kent.

 

Charlotte Collins was born in March 1784, the

eldest of five children of Sir William and Lady

Lucas, latterly of Lucas Lodge near Meryton in

Hertfordshire. There she met and married the

Reverend William Collins, a cousin of the

Bennet sisters, in January 1812. The couple lived

at Hunsford in Kent where their son, Thomas

Collins, was born in 1813. In 1823, upon the

death of Mr Frederick Bennet, the Reverend

Mr Collins inherited Longbourn-house, an

estate of which Mrs Collins was destined to

remain mistress for over half a century.

Upon their removal to Longbourn, Mr and Mrs

Collins were pleased to allow Mr Bennet’s

widow and daughter Mary to continue to live in

the house, and to treat it as their home. Mary

had been entrusted under the terms of Mr

Bennet’s will with the care of his extensive library,

and she immediately set about this task

with the greatest diligence, continuing to

pursue improvements to the collection, chiefly

through a series of judicious acquisitions,

almost without interruption from that time

until the present day. Upon that occasion also,

Mr Collins desired that the name of the house

be changed from Longbourn-house to

Longbourn Hall, to reflect the elevated status

with which he expressed the hope that it

would, in the course of time, become

associated.

 

Regrettably, however, within less than a year of

the Collins family’s installation at Longbourn,

the Reverend Mr Collins sustained a minor

injury whilst engaged in clearing undergrowth

from a small wilderness beside a lawn in his

garden, the resulting wound from which most

unfortunately became infected. The rapid

progress of this infection caused him to

succumb soon afterwards, his resulting death

thus sadly depriving him of anything more than

the briefest period of enjoyment of his newly

acquired estate.

 

Mrs Bennet also died later that same year, and

Mrs Collins thereafter began to observe in

young Thomas the development of a strongly

studious character, carefully fostered by Miss

Mary Bennet’s solicitude towards him in her

combined role of cousin, mentor and librarian.

There gradually grew between these two

younger members of the household a firm

attachment, which eventually developed

beyond their previous cousinly affection, this

being confirmed by their marriage in 1833 and

the subsequent birth of a son, Timothy, in the

following year.

 

For above forty years since then, membership

of the Longbourn household underwent no

material alteration, until the recent death of

the elder Mrs Collins. This period has

nonetheless been punctuated by several notable

events associated with the family, perhaps the

most remarkable of which was the famous

Catherine (“Kitty”) Carter trial of 1862. Kitty

Carter was Mrs Mary Collins’s sister, and, in

defiance of social conventions, the elder Mrs

Collins allowed her to stay as a guest at

Longbourn Hall throughout the whole of that

protracted and scandalous affair.

 

The details of the case are so well known, even

today, that it would be superfluous to recount

them here; suffice it to say that the verdict

eventually obtained vindicated the faith that

both Mrs Collinses had placed in their relation,

who duly acknowledged her debt to them in an

autobiographical memoir, published later that

year, through which her name became known –

some might say, notorious – around the world.

 

Some nine years previously, a considerable

change had taken place at Longbourn, with the

purchase by the Great Northern Railway of

part of the estate’s farming land, for the

construction of the line through Meryton to

Ware. The substantial sum thereby realised

enabled the elder Mrs Collins to throw out a

new self-contained wing from the earlier house,

with the intention of entertaining friends and

family without interfering with the orderly

conduct of the rest of the household. The

generous nature of her year round hospitality

benefited in its turn from the improvements in

the means of travel provided by the new

railway, such that her visitors were now able to

reach Meryton from places as far afield as

Derbyshire and Yorkshire in a matter of hours,

rather than the days that had previously been

occupied in the completion of such journeys.

Mrs Collins retained few links with the Church

of England after the death of her husband,

although she did maintain friendships with

several of his former parishioners in and around

Hunsford for some time after her removal from

that part of the country. She was amused in her

later years to learn that the Rosings Estate, of

which the Hunsford rectory – where she spent

the first ten years of her married life – formed a

small part, had passed into the hands of the

nephew of her daughter-in-law, when it was

inherited by Sir Arthur Wickham de Bourgh,

Bart, upon the death of his first wife, Anne.

The concern that the elder Mrs Collins felt for

the education and welfare of her grandson, Mr

Timothy Collins, showed her to be

exceptionally solicitous on his behalf, and it

could be said with some certainty that his

successful parliamentary career, up to and

including his position in Mr Gladstone’s recent

administration, in the course of which he was

honoured with a knighthood, was the direct

result of the attention which she paid to his

upbringing. She also instilled in him the

passionate advocacy of many international

causes, foremost among which was that of

Italian unity, finding especial friendship and

fellow-feeling with the great Italian leader

Giuseppe Garibaldi, who was invited to

Longbourn Hall briefly on the occasion of his

visit to London in 1864.

 

Mrs Collins had always taken a great interest

not only in her own family, but also in those

both of her lifelong friend Mrs Elizabeth

Darcy, and of Mrs Darcy’s sister, the late Mrs

Jane Bingley. It was with great pleasure that she

saw her own younger brother, John Lucas,

marry Mr and Mrs Bingley’s daughter, also Jane,

in 1832, thereby sharing her own extended

family of nephews, nieces and cousins with

those of the former Bennet sisters.

 

Mrs Collins was widely renowned and loved for

the care she took to include all her extensive

family and friends in her regular invitations to

Longbourn, and for her careful remembrances

of birthdays and anniversaries of even the

youngest members of the family, extending to

the third and fourth generations, always with

thoughtful and appropriate gifts.

 

Mrs Collins travelled extensively, both in the

United Kingdom and abroad, often, especially

in her latter years, accompanied by her lifelong

friend Mrs Elizabeth Darcy. They completed

their last foreign journey together, to Italy, only

five years ago, at the height of the war in

France, which contributed not a little to the

excitements and discomforts of that journey.

Mrs Collins retained her health and her

faculties, save for gradually failing eyesight, to

the end of her long life, and many will recall the

occasion of her 90th birthday celebrations

which brought people from all over Britain, and

some from further afield, at which she herself

expressed a wish for it to be considered as, in

some measure, a way of bidding farewell to all

her many friends and relations.

 

The request expressed by Mrs Collins, that her

remains be removed from Meryton and

interred alongside those of her husband in the

churchyard at Hunsford, was complied with

shortly after her funeral, and a small family

gathering attended the interment ceremony as

a final farewell gesture to a well-loved and

notable figure who will be much missed, not

only here in Hertfordshire, but also much

further afield.

 

The Widow's Mite, 1876. Image @Morbid Anatomy

—————————————————————————————————
NOTES ON THE OBITUARY OF MRS CHARLOTTE COLLINS
AS SHOWN IN THE HERTFORDSHIRE GAZETTE, JUNE 1876
—————————————————————————————————

This Obituary Notice was discovered in the archives of the (fictional, of course) Hertfordshire Gazette, a long defunct weekly newspaper which circulated (as its title implies) mainly in Herfordshire, during the latter half of the nineteenth century and the first half of the twentieth.

The piece was deliberately written without reference to any of the many continuations of P&P, even those attributed to Jane herself. I felt that a retrospective view from 63 years on would imply a much greater leap of the imagination than a mere ‘continuation’ of the novel would require.

Most of it needs no explanation for those familiar with the novel, though there are some things which might raise a question or two. Some of these are:

What was the ‘Kitty’ Carter trial?
The details are not recorded – but there WAS a notorious murder trial in 1862 – a nurse called Catherine Wilson was tried and found guilty of multiple murders for money; she was the last woman to be publicly hanged in London – some 25,000 people attended her execution. The ‘Kitty’ Carter trial was clearly much more ‘classy’ than that, involving scandal in very high places, and a very different outcome; it probably would not have involved murder. Carter, of course, was one of Wickham’s fellow officers.

Two of the marriages are with much older women. Is this not improbable?
Uncommon, but by no means improbable. It was certainly possible for an older woman to marry a younger man. I think the Mary/Thomas marriage entirely natural; and although the Arthur Wickham/Anne de Bourgh one might be a little more unlikely, Arthur would have inherited his father’s title (which was granted only a short time before his death in action in the First Affghan Campaign of 1837-39) when he was in his mid-20s and Anne was newly independent on the death of Lady Catherine.

What was Sir Timothy Collins’s post in the Gladstone cabinet of 1871-74?
He was Chairman of the Local Government Board, a new post created by Gladstone in 1871. He must have been promoted when he was quite young. In historical fact, the post of President of the Board went to Sir James Stansfeld, but I think Sir Timothy probably edged ahead of him at the time of the vote of no confidence in Stansfeld as Civil Lord of the Admiralty in 1864. Stansfeld, incidentally, was also a great supporter of Garibaldi.

Great Northern Railway – Meryton to Ware
No such line was actually built – the railway at Ware was built in 1843 by the Great Eastern Railway. However, the Great Northern did build a line from Welwyn to Hertford in 1858 which connected with the Ware line. The Great Northern main line would have made access from Yorkshire and Derbyshire to Meryton via Hitchin or Hatfield very much easier than it had previously been from about 1851 onwards.

Respectfully submitted by Andrew Capes. Your comments are most welcome.

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Mr. Darcy’s Secret is Jane Odiwe’s third Jane Austen sequel for Sourcebooks. The story picks up after the Darcys’ marriage and Elizabeth’s introduction as Lady of the Manor. Lizzy is a quick study, for it is not easy for someone to pick up on all the intricacies of managing such a great house as Pemberley, but through her natural grace she quickly gains the respect of the staff and villagers and settles into her new home – where she uncovers a secret, one that places her relationship with Darcy in emotional jeopardy.

The delightful author Jane Odiwe has done it again – created a novel using Jane Austen’s characters that leaves you turning the pages to find out how the story will end. Jane Odiwe lives in Bath and London, and travels extensively all over England. This is obvious, as she is able to single out details as only someone who is intimately acquainted with the regions can. She has also researched Jane Austen and the Regency era for many years, so that the facts ring true and are sometimes surprising, as with the ability for people during that era to marry without posting the banns in one church in Derbyshire, a legacy from the days of King Charles 1.

In so many ways, Ms. Odiwe gets the characters right, which makes reading her books so enjoyable. Take Lady Catherine de Bourgh, for instance:

Lady Catherine de Bourgh looked Mrs Darcy up and donw with such an expression of horror and contempt it was all Lizzy could do to keep her nerve. “Does your husband know that you are running around the countryside dressed as a gypsy riding in a donkey cart, Miss Bennet?” she asked in scolding tones. “What on earth can you mean by disgracing Mr Darcy in such a fashion? Have you no idea of decorum, are you insensible to the honours bestowed on you by him, that fool of a nephew of mine who has singled you out above all other women to bear his name?”

Wickham remains his dastardly self; Lydia is still immature and silly. We learn more about Darcy’s sister, Georgiana, and how she is influenced by Lizzy, with whom she falls in love, and about her backstory with her governess, a most nasty creature named Mrs Younge. Miss Caroline Bingley provides comic relief in a funny story line, as does the ever reliably silly Mrs Bennet. In short, devotees of Jane Austen sequels will not be disappointed with Jane Odiwe’s latest venture in Austen territory. Reading Mr Darcy’s Secret prompted me to ask the author a few questions, and she graciously answered them.

1. Why did you wait until your third book to write about Darcy and Elizabeth?

For me, it was just a natural progression. Initially, I hadn’t wanted to write their story because I really wanted to do something different from the books that were being published. But, after writing Lydia Bennet’s Story, and Willoughby’s Return, I wanted to set myself a real challenge. I felt absolutely compelled to write Darcy and Elizabeth’s story, and also wanted to give Georgiana a happy ending. I’m a great believer in letting things happen organically, and perhaps I wasn’t really ready to write their story until now. I wanted to do justice to the characters, and have the kind of twisting plot with humour, surprises and shocks along the way that Jane Austen liked to write herself, which I hope I’ve achieved.

2. Does living in England give you a different perspective on how Jane Austen’s environment influenced her work?  If so, how does this knowledge affect your own writing about her characters?

Perhaps it does, but if so, I think it is an unconscious perspective. This country is the place of my birth; I am English, and the feelings of connection to its people, landscape and history are very strong. It’s a part of who I am. I was a teacher, and consider myself very lucky and fortunate to have had the joy of teaching pupils from every walk of life, which means I have witnessed the behaviour and customs of a vast cross-section of society from the very poor to the very rich. I’m just an ordinary person, but I have been able to witness first-hand what it’s like to attend high society balls (a long time ago now) and enjoy 20th/21st century equivalents of the kind of experiences that Jane Austen would have done. Rather like Jane too, feeling apart from that world, not really belonging, made the observation of it all the more fun. I’ve seen a world of privilege, I’ve seen the extreme opposite, and everything in between. I think all of life’s experiences and the knowledge gained help to inform your writing, but whether this means that I am successful in writing about Jane’s characters, I will leave my readers to decide.

3. For you, which comes first? The plot or the characters? How long does it take for you to outline your book before you start writing, or do you just dive in and plot as you go along?

Now that is a tricky one, but I think it’s been different for every book. I generally think about what I’m going to write for a long time, several months usually,  before I commit any thoughts to paper, though occasionally I might jot down a few initial ideas or key words. I think the idea for Mr Darcy’s Secret was really started by thinking about what we knew about Mr Darcy, or rather, what Elizabeth did not know. It occurred to me that she really didn’t know him very well at all. Jane Austen gives us no clues about his past, and so that set me thinking.
I used to meticulously write out the plot from start to finish before I commenced writing, but I’ve discovered that for me it doesn’t really work because the characters always do their best to take me away from what I’ve originally planned. So now I have a general idea of where I want to story to go, and have an idea of the ending, but the journey is always an adventure! The characters always want to tell their own story, and I let them.

4. What research  for your book surprised you the most? Did you leave out any material that you found fascinating but couldn’t use? If so, please give an example and tell us why you decided not to use this bit of information.

The research that surprised me most was the fact there was a Gretna Green of Derbyshire. In the village of Peak Forest its church is dedicated to ‘Charles, King & Martyr’ (King Charles 1) and until an Act of Parliament was passed in 1804 its minister was able to perform marriages without having the banns read.

I really enjoyed all the research into Derbyshire which I’ve visited many times from school trips as a child to spending holidays with my sister.
There is a lovely tradition of ‘well-dressing’ which I would have liked to include, but I couldn’t fit it into the timeline or plot – unlike Jane, I decided we’d spend more time in the Lake District.

I remember as a child being disappointed not to see any of the villages we passed in Derbyshire decorated with flowers. The pagan custom started many years ago with blessing the water supply, and there is a history of making clay plaques pressed with flower petals to ornament the wells, which they still carry on today. I would have liked to have included a lot more of the folklore in the book. The area is well known for its stone circles, petrified rocks, witches and ghosts! Maybe next time…

5. Have you plotted your next novel?

I have written another novel, but I’m still tinkering with it…not quite there yet. It’s not a sequel, and it’s a bit off the wall, but I’ve really enjoyed writing it. It’s inspired by Bath, Jane Austen and Persuasion, my great passions after my family.

Oooh, you have me intrigued already! As always, Jane, it is a pleasure talking with you. I wish you much success with this book and the next, and thank you for stopping by .

Read my reviews of Jane Odiwe’s other books and interviews with the author in the following links:

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Scheduled for this week are:

  • A review of Mr. Darcy’s Secret and interview with author Jane Odiwe on February 7th
  • A post by Tony Grant about the highwayman, Jerry Abershawe
  • And an interview with Darcy and Fitzwilliam author Karen V. Wasylowski on February 10th.

Stay tuned for more!

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Three years after Miss Marianne Dashwood marries Colonel Brandon, Willoughby returns. She is thrown into a tizzy of painful memories and exquisite feelings of uncertainty, for she is hurt and jealous over the Colonel’s attentions towards Eliza, his ward. Willoughby is as charming, as roguish, and as much in love with Marianne as ever. And the timing couldn’t be worse—with Colonel Brandon away and Willoughby determined to win her back ….

Willoughby's returnJane, I have thoroughly enjoyed ‘Willoughby’s Return’. Your writing style is lovely and has matured since your first book. Was it easier to write a second novel?

Jane: Thank you Vic for inviting me onto your blog, and for your lovely comments; I am so thrilled that you enjoyed my novel. I did find it easier in some ways, yet I feel I still have so much to learn. Writing the first one teaches you so much, and I was able to draw on those experiences. Feeling confident to experiment a bit more was very helpful, I wasn’t so afraid to write the book as I wanted to – I’m always conscious that people are constantly comparing what I write to Jane Austen. It isn’t possible to emulate Jane, of course, but I try to retain the tone and flavour of her books, bearing in mind that I am writing for a modern audience.

How were you inspired to write this book? How did you come up with the plot? It was a stroke of genius to make Margaret Dashwood the heroine of your story and yet retain Marianne. They shared center stage much in the way that Elinor and Marianne did in Sense and Sensibility. Was this done on purpose?

Jane: Like a lot of people who have read Sense and Sensibility, I never felt completely convinced at the end of the book that Marianne would have fallen in love so easily with Colonel Brandon as we are told in the two paragraphs that Jane devotes to their courtship and marriage. I wanted to believe that they were right for one another, and this is what started me thinking about how he might have won her over, and about their relationship in general. Marianne is a passionate romantic, a little self-centred, and a firebrand. I imagined that although she might love the Colonel as much as she had Willoughby, it would have been quite a different courtship, and a complicated relationship, especially as they have both loved and lost in the past. The fact that Brandon is guardian to the daughter of his first love who is also tied to Willoughby as the father of her child, I felt would cause big problems. Marianne thinks only of others in terms of herself, I think she would be very jealous of Brandon’s relationship with his ward and her child. Starting with these ideas as a background, I wondered what might happen if Willoughby returned, and how he could be worked into the plot so that Marianne could not avoid him.

Jane Odiwe and Dracca2

Jane Odiwe, left front, at the Reform Club, London. Dominique Raccah, publisher with Sourcebooks, sits in back looking down, with her husband beside her.

I wanted to introduce an older Margaret, who we are told has a character very similar to her sister. The relationship between the sisters is an important part of the book – would Marianne be able to chaperone Margaret as Elinor might or would she indulge her sister, encouraging her to fall head over heels with the first love that comes along? Would Margaret make the same mistakes as her sister?

Finally, I’ve always wondered about Brandon’s sister that we hear Mrs Jennings mention in S&S. Why was she in France? I decided to bring her and her family back to Whitwell, and this gave me an opportunity to introduce one of the young men central to the story. I love all the twists and turns in the plots of Jane Austen’s books, and I spent a long time thinking about how I could achieve a few of my own. I had a lot of fun with the plot, which changed several times before I got to the end!

Mr. Wickham and Willoughby are central to the plots of your two novels. Do you have a penchant for bad boys? Or do you think they are more complex characters than Edmund Bertram or a Henry Tilney, let’s say?

Jane: I don’t have a penchant for bad boys as such, but I understand how such characters have a certain appeal for most women – I think most of us have probably come across a Willoughby at some stage when we were growing up – I am convinced Jane knew of one or two! Bad boys are central to Austen’s plots also, and what fascinates me is that these characters are always introduced as handsome, dashing young men on first acquaintance. But, I think what’s important about Jane’s writing is that even when it is found that they are far from the good characters they are initially painted, they are not caricatures, never wholly bad. Willoughby, for instance, does realise his mistakes by the end of the book even if he doesn’t suffer forever. The development of a character like Willoughby was something I wanted to bear in mind with my book. I love the fact that Marianne is his ‘secret standard of perfection in woman’ – wouldn’t it be wonderful if all Willoughbys spent the rest of their lives in such secret regret?

Jane Odiwe efford3

Photograph taken in the area of Efford House on the Flete Estate where Sense and Sensibility (1995) was filmed.

I also enjoyed the historic touches that you managed to weave into your plot. It is evident that you know the countryside well and that you are familiar with Regency customs. Tell me a little about your research. I know you have visited many of the places you describe.

Jane: Research is a favourite part of writing these books – I probably spend far too much time on it, and always end up with more than I need, but England at this time is so interesting. My book starts off in Devon and Dorset, counties I’ve known and enjoyed since I was a little girl. My father used to take cine films of us when we were little – I have film of me in Lyme when I am about seven, and I have very fond memories of holidays taken in the area. I had to include Lyme in the book for these associations and for those that Jane wrote about in Persuasion.

I also spent a lot of time wandering around London finding all the places where the characters spend the season, and deciding where Marianne and her Colonel might have their house. As you know, Vic, there is still so much to see of Georgian London!

Oh, yes! I envy your living so close to the places that I research and your proximity to London. You write, paint, oversee at least three blogs and a twitter account, and have a family. How do you find time for it all? I am curious how you still manage to paint, for I always found that to be the most time consuming of my talents and the easiest to drop when my schedule is hectic.

Jane: The truth is that I find it difficult to find time for it all, but I am an early riser, and get a lot done when everyone is still asleep. We always come together for meals in my family, that’s most important and, we spend time together in the evenings – sometimes we paint together. There are several artists in the family; I love it if we are all working round the table. My own painting has taken a back seat at present, but that’s more to do with the fact that writing has taken me over for the moment.

Jane Odiweefford1

Holbeton is the nearest village to the Flete Estate in South Devon, an area rich in natural beauty.

Any other thoughts about your book that you would like to share with our readers?

Jane: One of the themes in the book concerns that of love, lost and found. Both the Colonel and Marianne have been in love before, and their relationship is a second attachment. I wonder what your readers think of second attachments – and have they ever encountered or suffered at the hands of a Mr Willoughby?

Thank you so much for this interview and for the photos you supplied. I can’t recommend ‘Willoughby’s Return’ highly enough to people who love to read Jane Austen sequels.

Jane: Thank you for inviting me to talk to you about my book and for a fantastic interview with such thought provoking questions!

Want to talk to Jane or Dominique? Join Twitter!

Find other interviews and reviews of Willoughby’s Return at these sites:

Sourcebooks is holding a blog tour for author Jane Odiwe on other blogs. The schedule is as follows:

Follow Jane Odiwe’s adventure as an author on her blog, Jane Austen Sequels. By the way, today is Jane Odiwe’s birthday: Happy Birthday, Jane!

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On her website, Diana Birchall discusses how she began writing Mrs. Elton in America, originally entitled In Defense of Mrs. Elton.

In Defense of Mrs. Elton had an interesting evolution. It began as an internet serial told on the Janeites online literary list. The group was discussing this obnoxious character from Jane Austen’s Emma, and I undertook to defend her. My defense took the form of a serial story, told in eleven parts over the period of about a month, and the response from the geographically far-flung, but intellectually close-knit Janeites community was startling…All three “Mrs. Elton” stories are collected in the volume, Mrs. Elton in America.

Vic: Diana, I am so pleased to learn that SourceBooks has published your book, Mrs. Elton in America, a comedic novel, in which, as the publisher says, Mrs. Elton crosses the Atlantic Ocean with her caro sposo and children and enjoys high comedic adventures in Boston and New York society. She also visits a Southern slave state, and dwells among the Comanche Indians. Goodness, but Mrs. Elton gets around!

Diana: Thank you! Well, if even a quarter of those things happened, Mrs. Elton would surely be the talk of Highbury, wouldn’t she? It’s not a place where there’s a tremendous amount of action going on. Yet Mrs. Elton is an energetic character. I felt she could use a greater scope for her activity, and it might even be beneficial for her, and improve her faults. (I know more travel would definitely improve mine…)

Vic: I’ve already written about your delight with the book’s cover , which is very lovely AND lively, but I’m sure the readers of this blog are curious to learn more.

Diana: About the cover painting: I was browsing through an online gallery of the luminous, exquisite portraits by 18th century French woman artist Vigee LeBrun – a real pleasure – want to see the site? Here it is: http://www.batguano.com/vigee.html – and one face popped out at me. Remember when Jane Austen was in a gallery and “found” the portrait of Mrs. Bingley? In my less exalted case, I saw a face that said “Mrs. Elton” to me. Sort of a vulgar expression, and an over-gaudy costume. It turned out to be the Duchesse de Berry, but never mind! An earlier version of the book used a cowgirl picture, but that was never right. Now it’s right! (That is, if you think the Duchesse de Berry is Mrs. Elton. Oh well, if I’m deluded, don’t let me wake.)

Vic: Let’s face it, Mrs. Elton, though a memorable character, is not one of Jane Austen’s most beloved creations. Why concentrate on her? Why not write more about Jane Fairfax or Mary Crawford, for example?

Diana: In the first place, Mrs. Elton is funny! A character people love to hate, with a decided and distinct personality. I could never see writing about Jane Fairfax, she’s so…limp and repressed, I’ve never warmed to her. Mary Crawford, yes; a splendid wily witty Lady Susan-esque heroine. However, I identified with Mrs. Elton long ago, and there’s no help for it. She seems to have become my fate. (As Anne Elliot says in Persuasion, “It is not a very enviable one; you need not covet it.”) You know, the first time I read Emma, I couldn’t even see what was so awful about Mrs. Elton, why everyone in Highbury thought she was so dreadful. I grew up in New York and brash pushy behavior was what one saw every day, so Mrs. Elton only seemed normal! Gradually, of course, on successive re-readings, I learned to understand her social crimes, but I also found that her behavior was, in many ways, no more reprehensible than Emma’s own. The difference lies in Jane Austen’s editorial point of view, how she presents the two characters. At every opportunity she signals to us that Mrs. Elton is inappropriate, vulgar, striving for effect in her manipulations, while Emma is only young and mistaken in hers. When I wrote the first Mrs. Elton story, “In Defense of Mrs. Elton,” I came to see her side of things – that it was possible to sympathize with her, as a stranger, an outsider, so roundly and rapidly rejected by Emma, the Queen of Highbury society where she was going to live for the rest of her life.

Vic: Tell me about the impetus to write the book. Why did you decide to take the Elton family to America?

Diana: The impetus was that I’ve always been interested in transatlantic stories. Stories where an American character goes to England (as in some of Frances Hodgson Burnett’s books, for example – The Shuttle, or A Fair Barbarian), or where an English character goes to America. My main inspiration was Frances Trollope’s famous memoir, Domestic Manners of the Americans, which is jaw-droppingly brilliant journalism. Frances Trollope, Anthony Trollope’s mother, an excellent, spirited narrator and vigorous personality, went to America in the 1820s (just when Mrs. Elton would have) and wrote a vividly observed, yet extremely condescending and sarcastic description of the coarse Americans. Her viewpoint of the Americans influenced visiting authors’ attitudes ever since – I believe until this day. And I thought, what if Mrs. Elton traveled to America the way Mrs. Trollope did – what would she think of it, what would the Americans think of her, what sort of adventures would she have, how would she be changed? It just seemed like a funny idea.

Vic: You had researched Mrs. Darcy’s Dilemma extensively and worked hard on finding Jane Austen’s voice in your writing. Was the process easier with Mrs. Elton?

Diana: I’d read Jane Austen thousands of times, poring over each sentence and its beauty and balance and structure, by the time I wrote Mrs. Darcy’s Dilemma. I wanted it to be a beautiful book. I was less concerned with beauty when I started writing (or, let’s face it, “being”) Mrs. Elton. She is comedic and crass and not exquisite. Besides, by then I had developed some facility in writing in pseudo-early 19th century style. I found I could rather alarmingly snap myself into being her, and write *as* her. We are, regrettably, so very alike, after all…

Vic: Tell us a little about your writing process. Up at the crack of dawn, or writing late into the evening? Disciplined, or waiting for inspiration?

Diana: Waiting for inspiration, and when I get an inspiration, then I am driven and determined and disciplined, and just barrel away at a thing until it’s done, using every spare moment of free time. But I don’t get inspirations very often (grin).

Vic: I find your day job of reading scripts for a major movie studio fascinating. Care to share some of the details with the public?

Diana Birchall in Vancouver

Diana Birchall in Vancouver

Diana: It’s always been the ideal job for me and I know I was very lucky to have found what Dorothy L. Sayers calls my “proper job,” early in life. I’ve worked in the movie business since the 1970s, when I moved out to California after graduating from college. I had a B.A. in English, a small child to support, and was doing temp jobs. Then an aunt suggested I look up my grandmother’s old literary agent. My grandmother, Onoto Watanna, was the first Asian American novelist (she was half Chinese; I’m half Jewish; too difficult to explain), and she’d had a career as a Hollywood screenwriter in the 1920s. Her agent, a perky little man with a bow tie, was still alive, though elderly, and he gave me some scripts to read. That’s how I started, and I became what’s called a story analyst – a studio reader. I’ve been at Warner Bros since 1991, where I’m the “book person,” reading novels. Although I’m on staff I work from home, and that, of course, is ideal for a writer. Also, the work is excellent in itself, because I’m forced to work on deadline, be disciplined and professional, and turn out serviceable analytical prose every day. Very good training. As for the job itself, it’s something I have always loved doing – after thirty years I’ve never staled or got tired of it! I’m still excited each time I’m sent a new manuscript (they come via email now, which is fabulous; years ago I had to drive out to Burbank to pick up work). I love to read more than anything else in the world anyway, and even if a book isn’t one I might have chosen to read myself, I love to analyze and dissect them. And most of the books are popular novels of fairly high quality; I actually do enjoy most of them. When I don’t, I get through them quickly but professionally: you do develop the ability to read extremely fast after doing this for three decades. So It’s been a good career for me. Would I recommend it to people starting out? Not really. You see, the business is changing, with all the new technologies, and no one’s really sure which way things are going. I’m not sure it’s possible to make a career as a studio reader anymore; the system is dying out. There’ll be some new way of “covering” material, but it’s not clear yet what that will be.

Vic: Anything else you’d care to share with our readers?

Diana: Just that Jane Austen has been my teacher, my solace, my amuser, my inspiration, and my study. As Cassandra called her, “the sun of my life, the gilder of every pleasure.”

Vic: Thank you, Diana. As always your thoughts are so illuminating. You must be pleased with some of the reviews, like Ellen Moody’s, who called your book “a polished performance,” or Maggie Lane’s, who said, “It’s a delight to meet with old friends in new situations. America, where everything is bigger and better, is just the setting for the obnoxious but hugely entertaining Augusta Elton.”

Diana: Indeed, some most esteemed people have said lovely things, and I have been very pleased! Only one reviewer missed the point, that it was supposed to be, you know, funny – but then, what is fun for some, is not fun for every one. One half of the world, as Emma said, does not understand the pleasures of the other.

Vic: I can only add, good luck with the novel Diana. Two books published in one year! You must be proud.

  • Click here for the archives to Mrs. Elton’s current project, her weekly advice column on Jane Austen Today.

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