By Brenda S. Cox
I thoroughly enjoyed Jane Austen and the Creation of Modern Fiction: Six Novels in “a Style Entirely New,” by Collins Hemingway. As a fiction writer himself, Hemingway examines Austen’s novels, in the order she wrote them, to analyze the techniques she pioneered. He observes her abilities growing from novel to novel, as she experiments and succeeds in creating the worlds and characters we so love.
A New Style?
Did Jane Austen develop a new style of novel-writing? Her contemporary reviewers thought so. They felt compelled to give long contrasts between the previous style of novel-writing, full of intensity and improbability, with Jane Austen’s new realistic style. Sir Walter Scott in his 1815 review of Emma said Austen “draws the characters and incidents introduced more immediately from the current of everyday life.” Rev. Richard Whately wrote in his 1821 review of Northanger Abbey and Persuasion, “A new style of novel has arisen. . . . The substitute for these excitements [of unlikely adventures] . . . was the art of copying from nature as she really exists in the common walks of life.” Both these reviews are worth reading (follow the links above) to see how Austen’s contemporaries struggled to describe what she was, and wasn’t, doing in her novels.
The third volume of Austen’s Juvenilia includes a penciled note inside the front cover, “Effusions of Fancy by a very Young Lady consisting of Tales in a Style entirely new.” Peter Sabor says this inscription is written in Jane’s father’s handwriting, though others have speculated that it may have been written by Cassandra or even by Jane herself, tongue-in-cheek.
Author Collins Hemingway told me, “The epigram seems most likely to me to be from her father. . . . To me, the quotation is Mr. Austen enjoying and encouraging Jane’s raw power and comedy, her sheer audacity in sending up the pulp fiction of the day with her various teenage writings. I saw a strong parallel to her adult fiction. Her juvenilia showed that she understood that traditional fiction didn’t cut it. Her adult fiction shows that she learned how to write good novels—something new at the time.”
Jane Austen Learning (or Inventing) the Craft of Writing Fiction
Jane Austen and the Creation of Modern Fiction starts out with a preface for more academic readers (feel free to skip it if that’s not you), then an introduction for us all, which begins:
“I wrote this book so that people can read Jane Austen with fresh eyes. I wanted booklovers to view her not as a literary or cultural icon but as a writer, someone who puts words to paper to try to touch another person’s heart. I wanted people to see her as a human being who struggled to master her craft as anyone in any field, regardless of talent, must do. . . . As both a student of literature and a writer, I wanted to know how Austen affects readers. I wanted to know how she created remarkably real people interacting in remarkably realistic situations. This is what writers care about, and what readers respond to.”
Yes.
Hemingway starts with an exploration of the context of Austen’s writing, how she “straddled the old and new literary order, ultimately pivoting the novel from improbable adventures to deep penetration of the minds of her heroines.” (These early chapters are necessarily a bit more difficult, as they compare Austen with her contemporaries, who most of us have not read—and here we can see why Austen is so much more accessible than other writers of her time!)
Then he brings us deep into our beloved Austen–following her development of description in her earliest novels, Northanger Abbey and Sense and Sensibility. In Pride and Prejudice, she continues to develop “pocket descriptions,” which are “pithy, telling details.” For example, Elizabeth Bennet’s jumping over stiles and puddles and arriving at Netherfield with “weary ancles” and “dirty stockings” is a pocket description that shows us a lot about Elizabeth.
Sense and Sensibility was originally written in the popular “epistolary” form, as a series of letters. Letters give a sense of distance, as the character is writing about events that have already happened, rather than the author drawing readers directly into events. A chapter analyzes how Austen made the transition from letters into narrative. For example, Edward Ferrars is a “blurry” presence in the early chapters, which are closer to the letter format. By the end of the novel, though, Austen has added vivid, immediate scenes. So, in the final proposal scene, we see Edward as “the very real and anguished presence of a human being.”
My favorite chapter is the one on “The Marvelous Complexity of Mansfield Park.” Hemingway’s discussion helps readers appreciate its elaborate scenes, complex characters, and interconnected plotlines. He particularly explores the depths of Fanny Price’s thoughts and feelings.
Fanny’s “responses, which for the most part only the reader observes, show her to be by far the most complex individual Austen ever creates. Outwardly, she is a saint. Inwardly, she is as confused and angry as any person who is regularly embarrassed or put down. Her raw feelings sometimes overpower her Christian charity and patience.” Austen even uses the furnishings of Fanny’s room to show her interior life. Fanny constantly examines her own motives, trying to find the right path.
Every chapter includes new insights into Austen’s novels, her writing techniques, and her development as an author.
Persuasion
One area of the book that Janeites might find a little uncomfortable is the section on Persuasion. Collins Hemingway discusses the revision process—authors generally rewrite their books multiple times. He points out several areas in Persuasion that could be considered imperfect. For example, Mrs. Smith is not quite consistent. Why does she encourage Anne to marry Mr. Elliot, then reveal how horrible he is? And why does Lady Russell mostly disappear from the second half of the book?
Austen might have fixed these issues with a major rewrite. (I suggest she also might have changed Charles Hayter’s name, so we wouldn’t have two adult characters named Charles, besides Charles Musgrove’s son Little Charles.) But Hemingway suggests that perhaps her health was failing already, and she did not have the time and energy for major revision. She had already replaced the original ending with the beautiful one we know and love. And, in “the quiet passion of Anne Elliot,” she had already given readers “a depth of character never seen before.”
If Austen had begun another revision to fix smaller structural issues, she might not have had a publishable version available when she died. So, Hemingway persuades us that Austen wrapped up the work, as it stood, to give the world another work of art and to help provide for her mother and sister after her death. As Hemingway states, “Like Emma, Jane is faultless despite her faults.”
Any lover of Austen will learn a lot from Jane Austen and the Creation of Modern Fiction. I particularly recommend it to writers (like myself), who will enjoy seeing Austen’s techniques and their development. Any of you who love digging deeper into Austen’s novels will find new delights here.
On Monday, we’ll interview the author to get his perspectives on the book.
Jane Austen and the Creation of Modern Fiction is available from Amazon and from Jane Austen Books. Jane Austen Books is currently offering it at a substantial discount.
Gentle readers, what aspect of Austen’s writing do you most admire? Her settings, characters, plots, style, humor, or something else?
Brenda S. Cox is the author of Fashionable Goodness: Christianity in Jane Austen’s England. She also blogs at Faith, Science, Joy, and Jane Austen.
Jane Austen's World 