Probably my favourite Austen. A re-read for an online book group, but a book I’ve been meaning to reread for a while anyway. It’s the least pol 5 Stars
Probably my favourite Austen. A re-read for an online book group, but a book I’ve been meaning to reread for a while anyway. It’s the least polished of Austen’s novels – the pacing feels a bit off in the second half and the ending feels quite rushed – so I was originally going to give it either four or four and half stars to reflect that, but actually, flawed as it is, I can’t help absolutely adoring it.
The main attraction I think is that it’s a bit different from her later-written and better known books – more youthful and vibrant and funny. Austen is always funny, of course, but you really get the sense that she was having fun with this one. The heroine, Catherine Morland, is the youngest of Austen’s female leads, being an impressionable seventeen – and at that awkward teenage stage where you’re starting to be considered an adult, but nobody’s really quite explained the rules for you. She’s not got Elizabeth’s quick mind, Emma’s overwhelming self-confidence, or Elinor’s thoughtfulness. But neither is she a Marianne; wild impulsive and romantic, with no concern for how others view her. She wants to be clever, self-confident, and thoughtful, she desperately wants not to behave improperly and draw negative attention to herself, but she isn’t even sure what’s considered improper and what isn’t. She’s unguarded and open in her conversation, takes people at face value, and tends to fold to the opinions of people who she believes have more experience. In short she’s a slightly self-conscious and eager to please teenager.
Taken to Bath for the season by a family acquaintance, the first half of the book follows Catherine’s adventures (and misadventures) of her first experience with high society and the friends (and false-friends) that she meets there. Poor Catherine is immediately out of her depth, there’s balls and plays and more balls and more plays and shopping and boorish suitors, and lots of young pretty people in fancy clothing. All the normal rules of society seem so relaxed that it’s hard to fathom what is appropriate and what isn’t, especially when people keep telling Catherine different things and her guardian is more concerned with the price of muslin than in advising her through these new experiences. At first mortified that she doesn’t know anybody, Catherine soon falls into the company of the beautiful and flirtatious Isabella, with whom she indulges heavily in a shared love of sensationalist gothic novels, and Isabella’s unbearable brother John. She also meets Henry Tilney, the best love interest in Jane Austen. Henry has the distinct advantage of neither being a cousin, nor having known the heroine from the moment of her birth, but even ignoring that he’s clearly the best – he’s funny, sarcastic, flirty, and genuinely kind and considerate. Darcy might be the one everyone lusts for, but Henry’s the one I would like to date. He takes the piss out of himself and likes to banter! That is literally all I ask for in a bloke. And really, can you imagine putting up with someone as self-important and judgemental as Darcy? Yuck.
The second half of the book takes us away from the relaxed society of Bath and into the austere setting of Northanger Abbey, the Tilney’s home (invited there by Henry’s younger sister). And here it turns into a parody of the gothic novels Catherine loves to read. In the setting of an old medieval abbey her imagination, encouraged it has to be said by Henry’s teasing, goes into overdrive and she starts seeing murder, madness, and evil in everything. What is the secret of Northanger Abbey? Is Henry’s mother really dead? Mad? Locked up? Murdered? And why do his children all feel so uncomfortable in General Tilney’s presence? Dun dun dun! It’s in equal parts funny and excruciatingly awkward watching Catherine investigate her suspicions only to find innocent explanations in everything. But there is a mystery there, if a more mundane one – and it arrives rather abruptly at almost the very end of the novel before getting almost as abruptly resolved.
The pacing is definitely a little off in this last half and if I was judging purely on quality I would deduct a star (maybe two) for it. But you can’t judge a book purely on the quality of the writing, books are emotional things and I’m irrationally in love with this one, flaws and all. I love the characters, I love the humour, I love the interludes by the narrator, and I love the easy-going, friendly romance between Catherine and Henry. No great smouldering love affair but two characters who first experience attraction over a shared joke – that’s a relationship I can get behind. Catherine is absolutely adorable, Henry is totally fanciable, and many of the sidecharacters are up there with the best of Austen – although General Tilney is rather weakly sketched, I love Isabella, and John the boorish boorfaced bore may well be a very simple stereotype but he’s no less fun to absolutely loathe because of that.
A lighter, fluffier read than most Austen, it’s very evidently written by a younger writer, but it definitely deserves more love than it seems to get. Only thing I don’t like is that the afterword in this edition takes things waaaaaay too seriously – it’s a total funsponge. The book itself though, is great....more
I’ve been meaning to reread Persuasion for ages. It’s the last of Austen’s novels and the first time I read it was during a bit of an Austen 4.5 Stars
I’ve been meaning to reread Persuasion for ages. It’s the last of Austen’s novels and the first time I read it was during a bit of an Austen binge (all her major novels, back to back, in order of publication) and thus was feeling a bit romanced-out by the time I got round to this one and didn’t really ‘click’ with it. I’ve always suspected that my ambivalence towards it back then was a little unfair and that a reread would improve my opinion, and I’m happy to say that I was right. It’s still not my favourite Austen but I did really really enjoy it and predict at least a couple more rereads in the future (which is a lot more than can be said about Mansfield Park).
As most people talking/writing about Austen will tell you, Persuasion is the most ‘mature’ of Austen’s books, which, despite sounding totally pompous, I guess I have to agree with. It’s a more sedate novel than Austen’s earlier works; less full of sparkling wit but touching more overtly on social, gender, and class issues. It tells the story of Anne Elliot who, at 19, broke off an engagement to a handsome young Navy officer due to pressure from her friends and family about his lack of wealth and connections. Eight years later, age 27 and still unmarried, her own family has frittered away all its money when Captain Wentworth returns from the Napoleonic Wars, rich, well-regarded, and determined to marry and settle down with anyone but Anne Elliot.
The two are thrown frequently into each other’s company by mutual acquaintances (ignorant of their earlier engagement) and have to learn to deal with their lingering feelings, regrets, and resentments as well as their change in situations, ignorant comments from people who don’t know about their previous relationship, jealousies caused by various other suitors, and her horrible snobbish family. It’s a very one-sided romance for most of the book, however, which makes it hard for me as a reader to fall in love with Wentworth the same way I can for most of Austen’s other heroes. As the story is told almost purely from Anne’s perspective, Captain Wentworth appears to spend most of the early parts of the book ignoring her, getting in petty jabs when telling people about the qualities he wants in a wife (‘firmness of character‘ – just give that knife a bit more of a twist will you, Wentworth?), and paying more attention to almost every other female character. This is probably the reason I wasn’t such a big fan of Persuasion the first time round – I expected more romance and more interplay between the two characters – but that’s not really the focus here.
It’s Anne’s feelings, the heartbreak, the uncertainty, and the hope that form the emotional heart of the story, and I think they’re handled very well. I can only really say ‘think’ here because I have never been in love nor pined for an ex (I mean I have got back with one once, but that was a drunken mistake that shall never be repeated). But Anne’s jumble of thoughts and feelings at being suddenly thrust into the company of the man she loves, who she believes resents her, felt believable and genuine. She’s a quiet but complex character and rereading it, knowing not to expect the witty flirting of Pride and Prejudice, I was able to enjoy the book and feel for Anne’s situation a lot more than I did the first time round.
The other interesting thing about Persuasion is that it is much more critical of traditional class and gender roles than Austen's other works and reflects how these things were beginning to change in the early 19th century. Anne’s family may be titled while Wentworth’s aren’t, but her family spend away their wealth on frivolous, useless vanities and are almost bankrupt by the start of the book, forced to give up their few genuine duties as landlords by retreating to a cheaper environment and letting out the ancestral home to strangers. Meanwhile Wentworth and his brother in-law build significant wealth and respect by risking their lives in service for their country and return richer and on almost equal social footing with Anne’s father. The novel celebrates this social mobility achieved through military service (Austen’s brothers were both naval officers) while showing a more critical portrait of the aristocratic classes than in any of Austen’s previous books. While most of the titled characters, and Anne’s family especially, are so preoccupied with status that they are blind to the individual merits (or lack there of) of those they socialise with, Wentworth and his navy chums just hang out, have fun and act like real friends who actually care about each other – and it’s obvious which society Anne prefers. Then there’s Admiral and Mrs. Croft, possibly the only happy married couple in all of Austen’s novels, who do almost everything together, genuinely enjoy each others company, and serve a big ‘fuck you’ to everybody who tries to force women into traditional ‘delicate female – must be protected’ stereotypes – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures. None of us want to be in calm waters all our lives.”
Persuasion isn’t as overtly witty as some of Austen’s other books (though it definitely has its moments, Anne’s family are hilariously awful), the romance isn’t as up front as perhaps people expect from an Austen novel, but I really like it. It’s a quieter book with a nice feelgood story that also has a few things to say; both about romance, forgiveness, second chances, and about society in general. Not that that isn’t always there to varying degrees in all her works – I will scorn anyone who says Austen is nothing but ‘romance and finding a husband’ – but in Persuasion it’s just that bit more open. It also contains one of my favourite Austen quotes of all time:
“I do not think I ever opened a book in my life which had not something to say upon woman’s inconstancy. Songs and proverbs, all talk of woman’s fickleness. But perhaps you will say, these were all written by men.” “Perhaps I shall. Yes, yes, if you please, no reference to examples in books. Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree; the pen has been in their hands. I will not allow books to prove anything.”
You tell ‘em, Miss Austen!
Still not my favourite Austen, but probably the one I will revisit the most often. I think it’s one of those books that every reread provides something slightly different. I liked it the first time but felt slightly disappointed, this time I enjoyed it a lot and got more into the characters and the quiet unshowy romance, next time… who knows? Maybe I’ll finally start to fall in love with Captain Wentworth – the 1995 and 2007 film/TV adaptations are certainly pushing me that way already with their delicious depictions of him....more
First off I want to state that despite giving this review only one star I did not hate it, neither, however, can I in good faith rate it as 'ok'. It wFirst off I want to state that despite giving this review only one star I did not hate it, neither, however, can I in good faith rate it as 'ok'. It wasn't ok, it was a total mess, but lurking in the first few chapters there was the potential for a good book - if only the author had been more concerned with the writing than the pictures.
The book's Wikipedia page says 'This children's book was originally intended to be a picture book featuring photographs Riggs had collected, but on the advice of an editor at Quirk Books, he used the photographs as a guide from which to put together a narrative.' and you can tell. The photographs aren't used to illustrate the story so much as the plot has been stretched out of shape to incorporate the pictures. The especially sad thing about this is that I would have loved the original concept - it was the photographs that drew me into buying this book and dissapointment at the mangled plot that made me donate it to charity.
The writing actually starts off well enough. For the first few chapters I was hooked, I even recommended it to my younger sister who hardly ever reads. It was tense, atmospheric, and the use of photographs - presented as once belonging to the protagonists recently deceased grandfather - made sense. However once the protagonist reaches the Welsh island he thinks will hold the answers to all his questions about his grandfather the plot takes a turn into WTFery.
Putting aside the irritating clichéness of the setting - a bleak windswept island that's barely heard of modern tecnology and the even more irritating superior attitude of the American protagonist who has heard of modern technology (such out of reach places do exist, afterall). The plot decided to take a bizare turn from creepy and atmospheric children's-horror -which was what it had been sold as - to (view spoiler)[a time travelling romance with kiddy X-Men. (hide spoiler)]
The use of pictures became increasingly poorly justified as we moved away from ones that were part of the Grandad's collection, and it soon became clear that the photographs were a crutch for both the plot and the writing. Why write a detailed description when you can say one short sentence and then stick in a picture? And then consistency issues within the photographs themselves started to appear too - I gave my book to charity so I can't double check but the protagonist's love interest looked like a different person in each photograph she appeared in and none of them matched the protagonists repeated textual description of her as 'totally hot' (maybe I'm just being shallow there though and if I'm wrong about it being a different girl in each do correct me).
After a very promising start the middle section was dragged out and dull - a cross between Tom's Midnight Garden (without the charm) and (view spoiler)[the X-Men (with none of the excitement) (hide spoiler)] with an unnecessary dose of emotionally disturbing romance. Then along came the ending; an info-dump and an anti-climax leading to a 'to be continued'. Thanks, but no thanks, the gimmick couldn't be sustained past the half way point of one book, let alone prop up a whole series.
I feel bad giving a debut author such a bad rating so some positives: I really enjoyed the first few chapters, Riggs writes well in the first few chapters and the depiction of a grieving teenager with post-traumatic-stress was well done right up until the point they got to cliché Bleak-Island. If he hadn't commited himself so hard into stringing along a plot purely to including his favourite photographs, Riggs could have written something quite good (or better than this at least).["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>...more