Deborah Yaffe

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By Deborah Yaffe, Jun 21 2018 01:00PM

The Hampshire village of Chawton is the mecca of the Janeite faith: the community where Austen spent the last eight years of her life, the secure home where she wrote or revised all six of her completed novels, the place from which “all her works were sent into the world,” to quote the plaque outside her cottage.


So it’s understandable that at least one villager found himself a tad miffed when the world’s first statue of Austen was unveiled last summer in . . . the nearby market town of Basingstoke, where Austen probably shopped, danced and walked, but where she indubitably did not live.


“Basingstoke has the statue, and Winchester has the grave and features on the Austen £10 note, but Chawton has been left out,” Michael Sanders, retiring chairman of the Friends of Chawton Church, told a local newspaper. “And it was here she did all the work on her books.”


So Sanders and his committee raised the money necessary to get Chawton a consolation prize of sorts: not the life-size bronze of Austen on permanent display in Basingstoke, but a smaller version, known as a maquette, which sculptor Adam Roud made as a preliminary template.


The Basingstoke Austen statue was installed in the central marketplace at street level, as if Bronze Jane were just another passerby on her way to the shops. By contrast, the smaller Chawton version stands atop a pedestal in the churchyard of St. Nicholas, not far from the graves of Austen’s mother and sister and a short distance from Chawton House, the home of Austen’s brother Edward Knight. The statue gazes across the meadows toward the cottage, now known as Jane Austen’s House Museum, where Austen lived from 1809 to 1817.


Among the participants in last Friday’s unveiling ceremony were Richard Knight, one of Edward’s descendants; the Lord Lieutenant of Hampshire; the Bishop of Basingstoke; and the novelist Joanna Trollope, a patron of Chawton House and the author of a deeply mediocre Sense and Sensibility update, as well as children from the local school and the chair of Chawton House’s board.


As blog readers will recall, Chawton House itself has had a rocky year or two as it tries to raise enough money to replace the contribution of Sandy Lerner, the Silicon Valley gazillionaire who renovated the property and turned it into a research library for the study of early English writing by women. Most recently, the organization dropped "Library" from Chawton House's name, in the hopes of encouraging non-scholarly tourists to make themselves welcome.


With luck, the statue will provide yet another reason for Janeites to make their very own pilgrimage to Hampshire.


By Deborah Yaffe, Jun 18 2018 01:00PM

A couple of months ago, when Jane Austen’s House Museum unveiled the results of the collaborative quilting project it organized to commemorate the 2017 bicentennial of Austen’s death, I bemoaned the lack of close-up photos for those of us who couldn’t journey to England to view the quilt squares in person.


I’m happy to say that omission has now been rectified: All fifty-three panels in the Jane Austen Community Story Quilt are now viewable in three online galleries, along with information about the theme and creator of each panel.


The panels, which cover aspects of Austen’s life and work, vary widely: Some are abstract, some are representational; some are specific, some more suggestive. Panels portray the church in Steventon, where Austen spent her first twenty-five years; Winchester Cathedral, where she is buried; and the museum itself, aka Chawton cottage, where she wrote or revised all six of her finished novels. Each novel gets a panel of its own, as do the Juvenilia and the unfinished Sanditon. Some panels also tackle themes in Austen’s work, such as elopement, self-control, and women’s precarious legal status.


Of course, a two-dimensional representation of needlework can’t substitute for an in-person viewing – texture and materials come across only imperfectly on screen – but for those of us whose international travel budgets are not what we might wish, this is a serviceable way to experience one of the most delightful Austen bicentenary projects.


By Deborah Yaffe, Apr 9 2018 01:00PM

Few are the places with genuine Jane Austen connections. Austen’s birthplace, Steventon Rectory, was razed in the nineteenth century; though some of her temporary homes in Bath survive, her long-term residence in Southampton is gone, replaced by a pub. Jane Austen’s House Museum, aka Chawton cottage, is a treasure, of course, and Austen’s grave in Winchester Cathedral is worth a pilgrimage, but many of the sites that Janeite tourists visit are movie locations where Austen herself probably never set foot.


So it’s exciting to learn that the newly restored Reading Abbey Gateway will open to the public later this week (see accounts here and here). As Janeites will recall, the Gateway once housed the Reading Ladies’ Boarding School, where the ten-year-old Austen and her older sister, Cassandra, were pupils in 1785-6, the final year of their brief formal education.


Although news accounts imply that visitors will see the very classroom where Austen studied, I doubt this is actually the case. Instead, it seems that in September, the local museum plans to move an already existing Victorian classroom exhibit into the Gateway. Since, as we Janeites are so often called on to point out, Austen was a Regency writer, not a Victorian one, it’s not clear how much relevance this exhibit will have to her own schooldays.


But when it comes to genuine Austen sites, we beggars can’t be choosers. Any readers who get a chance to visit Reading, please let us know what you think of the restored Abbey Gateway!


By Deborah Yaffe, Mar 26 2018 01:00PM

The delightful Jane Austen Quilt project culminated earlier this month with the unveiling at Jane Austen’s House Museum of two beautiful quilts made from blocks contributed by Janeites across the globe.


As blog readers will recall, the museum – aka Chawton Cottage, the house where Austen wrote or revised all six of her completed novels – launched the quilt project last year to mark the bicentenary of Austen’s death. The design was inspired by one of the treasures of the museum’s collection, the Austen family coverlet stitched by Jane, Cassandra, and their mother.


Combining creativity and traditionally female needlecraft, the quilt project strikes me as a charming and appropriate way of paying homage to Austen, a creative artist embedded in a female-run household. (Plus she was an excellent needlewoman, at least according to her nephew's 1870 Memoir of Jane Austen.)


The main quilt, known as the Jane Austen Community Story Quilt, measures more than eight feet by five feet and consists of fifty-seven blocks, most of which illustrate some aspect of Austen’s life or work. The second, smaller quilt, known as the Admirals’ Quilt, is composed of abstract geometrical blocks left over from the making of the main quilt.


Unfortunately, the museum blog doesn’t include closeups of every block in the Story Quilt, but from what I can see via blurry on-line zooms, among the designs are blocks featuring the Steventon church where Austen’s father was the minister, the turquoise ring she wore, and the spines of the novels she wrote. A large central panel, created by students from the local elementary school, highlights the community of Chawton, complete with houses, trees, and a friendly horse. (You can get a better look at portions of the quilt here, on the blog of quilter Katrina Hadjimichael, who created one of the blocks.)


Both quilts will be on display at the museum for the rest of this year, and the project has been memorialized in a book, Stories in Stitches: Reimagining Jane Austen’s Quilt.


By Deborah Yaffe, Feb 19 2018 02:00PM

Although it’s been a quiet few weeks on the Austen beat, at least compared with last year’s bicentenary frenzy, a few bits of Janeite news have come in over the transom. Herewith, a roundup:


* Garden seat: Bicentenary commemorations live on, as Jane Austen’s House Museum -- aka Chawton cottage, the Hampshire home where Austen wrote or revised all six of her completed novels – inaugurated its spring season this month by unveiling a Garden Memorial to Austen.


The memorial consists of two stone benches carved with a delightful quote from Austen’s 1816 letter to James Stanier Clarke, the Prince Regent’s librarian, who had advised her to make her next book a “Historical Romance illustrative of the History of the august house of Cobourg.”


Deftly deploying self-deprecation to deflect this asinine suggestion, Austen replied, "I could not sit seriously down to write a serious Romance under any other motive than to save my Life, & if it were indispensable for me to keep it up & never relax into laughing at myself or other people, I am sure I should be hung before I had finished the first Chapter."


The benches sit in view of the cottage, in a corner of the small garden – another landmark for Janeite visitors to check out when they’re next in Chawton.


* Quiz fail: Alas, British twenty-something Madeline Grant – familiar to readers of an earlier blog post -- lost in the semifinals of the beloved BBC quiz show Mastermind, despite correctly answering eleven questions on her specialty subject, Jane Austen’s life and works. (Apparently, she did less well on the test of general knowledge.)


The episode aired on February 9, but rights issues prevent viewing it on this side of the pond. Thus, I can’t tell you anything about the Austen questions, unless one of my intrepid readers knows of an – ahem! – less orthodox viewing method. Here’s hoping for a future Janeite Mastermind champ.


* Football and faux-Austen: One or two times in the past – OK, make that one or two hundred times – I have expressed, sometimes rather forcefully, my displeasure at the Internet’s habit of mistaking quotes from movie adaptations of Jane Austen’s novels for genuine Jane Austen quotes. (For one such post, click here.)


Sadly, my Sisyphean labor has yet to bear fruit, and the Internet is at it again. On Valentine’s Day last week, Linda Holliday, longtime girlfriend of New England Patriots coach Bill Belichick, posted to Instagram a photo of the happy couple relaxing on a beach vacation.


Underneath the photo, she wrote, “ ‘You have bewitched me, body and soul, and I love ... I love ... I love you!’ ~ Pride and Prejudice” (A heart emoji was also involved, but I can't replicate it here.)


There is nothing wrong with Holliday's caption, since the sentence she quotes – swoonily romantic or irredeemably cheesy, depending on your taste – does, indeed, come from Pride and Prejudice. Not, however, from the Jane Austen novel of that name, but from the 2005 Joe Wright film adaptation of said novel.


The Internet does not understand this distinction.


“Holliday quoted Jane Austen from ‘Pride and Prejudice,’ ” the Boston Globe happily – and inaccurately – reported. Yes, agreed the gossip site The Smoke Room: Holliday was “quoting Jane Austen’s 19th century book ‘Pride And Prejudice.’ ”


Inevitably, the next person searching for the origins of the “body and soul” sentence will happen across the Globe’s attribution and, lulled into a false sense of security by the newspaper’s reputation for good journalism, will perpetuate the error.


What is to be done? A friend to whom I ranted about this latest idiocy reminded me of a famous line in the Jewish ethical teachings known as Pirkei Avot: "It is not your responsibility to finish the work, but neither are you free to desist from it." The work of eradicating faux Austen quotes goes on.


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