Joan Aiken and Jane Austen – in good company.

In a piece written for the Jane Austen Society called Grim Evenings with Jane Austen, Joan Aiken writes:
“There is a widespread misapprehension among many people that Jane Austen’s novels are a genteel feast of sweet ladylikeness and innocent merriment. But of course it wasn’t like that at all. Not at the time.”

She continues:

“Jane Austen knows and describes as few other writers have done with such intensity, the suffocating dullness, the deadly monotony, the sense of entrapment that comes from living in a small country place with no means of escape. From an early age she had referred to this predicament, sometimes jokingly – ‘Our neighbourhood was small, for it consisted solely of your Mother.’ she wrote in an early pastiche Love and Freindship at the age of about fifteen, but in fact for well bred ladies of the period this was no joke.”

When Austen first began her story, the fragment known as The Watsons, the subject matter may have been too close to Jane Austen’s own situation for her to continue it with any possibility of lightening the mood – sisters about to lose their father, and their home, with no possibility of improving their future circumstances, even in Jane’s case, by inventing imaginary happy endings.

Even in her six novels, Joan Aiken wrote, gloom, solitude and monotony are the daily diet of Austen’s heroines, which is why they so easily fall prey to cosmopolitan interlopers like Henry Crawford, Wickham, Willoughby and Mr. Elliot.

So in sisterly fashion, Joan Aiken decides to rescue Austen’s heroine, in this case Emma Watson, and by using her own powers of writerly imagination, to create a more engaging outcome which may or may not accord with the expectations of Janeites…

Aiken speculated:

“A common mistake made by readers about writers is to imagine that each of their works reflects their emotional progress…but Austen’s work, at first done for fun, and to entertain her family, became, later, something very different, the main function of her life and, perhaps an assuagement for a feeling of emptiness.”

So if Joan Aiken takes a few liberties with her ‘Jane Austen Entertainments’ such as her completion of The Watsons it seems only proper to see it as an exercise in the spirit of sisterly sympathy – to allow a more cheerful outcome for Jane and her heroine.

For as she reminds us:

“For Jane Austen herself it ended very badly; she lost her lover, she died, after a lot of pain, away from her beloved village home, and bitterly disappointed that her mother had not been better provided for.”

So for those who would like to give one Jane Austen heroine a very happy ending (no spoilers here, and you will never guess!) despite all dreadful expectations to the contrary – welcome to Joan Aiken’s completion of Emma Watson…!

Out today in a brand new paperback:

Copyright of ‘Unseen Jane Austen Portrait’ Dr.Paula Byrne

“Such devoted sisters…”

Mansfield

A sister played a more important role than a romantic hero in Jane Austen’s own life; Cassandra was her lifelong confidante, and literary consultant, and after Jane’s death took charge of her reputation and legacy even to the extent of burning many of her sister’s letters. Perhaps because of this special relationship, sisters are of supreme importance in the lives of Jane Austen’s fictional heroines.

All six of her completed novels deal with what Sir Thomas Bertram of Mansfield Park considered a young girl’s ‘most interesting time of life’ –  the short period when she has the possibility, or in many cases the necessity, of finding a husband – interesting hopes and dreams which may or may not be shared with a bosom companion. When Cassandra’s intended husband died tragically, she gave up any further romantic expectation and turned to the younger Jane for this kind of enduring companionship.

In Jane Austen’s Mansfield Park the prolonged absence of their father Sir Thomas allows the Bertram sisters to fulfil all the fears he had entertained about their possible misconduct, as they fall into rivalry, flirtation and finally disgrace.  In Joan Aiken’s sequel, it is the more loving Price sisters, Fanny and Susan, daughters of a less fortunate sister of Lady Bertram who are the heroines,  and Susan, the younger, is left more or less in charge of matters at Mansfield Park when the older Fanny, now married to Edmund has gone abroad with him to look after the family’s affairs.  Bereft, and left at the mercy of mean spirited Julia Bertram, here playing the role of her wicked ‘step-sister’,  Susan is adopted as companion by the mysterious Mary Crawford, the dangerous heartbreaker of the original Austen novel, whose intervention and encouragement allow romance to blossom for Susan in this imagined sequel.

Joan Aiken’s passion for, and knowledge of the life and works of Jane Austen was shared by her own sister, Jane Aiken Hodge,  a historical novelist, who also wrote a biography of Jane Austen. The two Aiken sisters shared the early drafts of their novels with each other throughout their writing lives, and benefited from coming from a family of readers and writers who enjoyed communicating their literary passions, just as the Austen family  had done.

Joan went on to write six novels in this series which she described as ‘Austen Entertainments’, and for those who know their Austen they are extremely entertaining – readers will enjoy not just the coming of age, and ‘interesting time of life’ and romances of the younger sisters first introduced in the original novels, but a wealth of tongue in cheek references to characters in those earlier works, and to incidents from Jane Austen’s own life which demonstrate Joan Aiken’s love for, and delight in the world and writing of her heroine Jane Austen.

Perhaps one of the most poignant references in Joan Aiken’s Mansfield Revisited is the description of the “arrangement of three chairs” on which the returned, and now ailing Mary Crawford is found resting in her garden. In a letter, a niece of Jane Austen’s described how when  Mrs Austen (a possible model for the constantly suffering Lady Bertram?) is in possession of the sofa, while the seriously unwell but self denying daughter Jane is “laid upon 3 chairs which she arranged for herself.”  With this parallel in mind it is interesting to speculate about other similarities Joan Aiken draws between Jane Austen and her heroine Mary Crawford, perhaps using her as an imagined alter-ego who she endows with all sorts of cheerfully witty and ‘wicked’ qualities that she may have shared herself, but which after her death, Jane’s more concerned sister Cassandra sought to suppress and conceal, in order to give a more traditional portrait of her author sister.

Jane Austen may well have had adventures of her own, at her own ‘interesting time of life’, but deprived of many letters about her own life, the closest we can come to an understanding of how important these other, unfulfilled romantic relationships may have been to Jane, is through the intimate conversations of the sisters in her novels.

Joan Aiken’s Mansfield Revisited, a sequel to Austen’s Mansfield Park was published in a delightful little hardback volume and as an EBook

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These Four Aiken Austen titles are now available on Kindle

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Joan Aiken also completed Jane Austen’s The Watsons and a Mansfield Park sequel about another of the Bertram sisters – The Youngest Miss Ward

Find EBooks or paperbacks here

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Joan Aiken’s Felix & Jane Austen’s Susan – Unlikely Travelling Companions?

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Tales from different times… Joan Aiken’s hero Felix Brooke, and Jane Austen’s ‘Susan’ – or should that be Catherine Morland..?

Joan Aiken’s passion for history often led her to wonder what if things had turned out differently?  What if, for instance,  Jane Austen’s early novel, originally entitled ‘Susan’ when she sold it to a publisher in 1803, and which then languished unpublished until she furiously bought it back for £10 thirteen years later, had in fact come out, maybe without the knowledge of its author, and had been a treasured possession, carried in the pocket of a young English nobleman when he ran away to join the Peninsular wars in Spain at the beginning of the 19th century.

The young man falls in love, and marries an aristocratic Spanish girl who dies having his baby, and he watches over the boy, disguised as a groom until his own death. He leaves a letter, and his treasured book, to the boy, Felix Brooke,  with a message telling him to seek out his long lost family in the city of Bath in England, where the action of Austen’s novel had taken place.  For Joan Aiken imagined that the book was actually Jane Austen’s early novel, ‘Northanger Abbey’  written in the full enthusiasm and confidence of youth, and  a delightful parody of all the Gothic romances so popular at the time.

Austen’s novel is a description of an innocent abroad (although in her case it is a first visit to a big city) a heroine with a head full of fantasy from reading too many novels,  who finds herself alone in a dangerous society, struggling to make sense of the behaviour of unscrupulous villains – or apparently solicitous friends – with nothing but the world of fiction to guide her.  This is much the same situation in which Joan Aiken’s Spanish orphan, young Felix Brooke finds himself, but in a truly wild and Gothic landscape with terrifying brigands and murderers, mountain tribesmen looking for a human sacrifice, or even pirates who specialise in the kidnap of children…and he only has the assistance of Austen’s novel to sustain and comfort him.

In Joan Aiken’s Go Saddle the Sea Felix tells us about it as he is recounting his story:

“The book, Susan, was an odd tale about a young lady and her quest for a husband; to tell truth, I wondered what my father had seen in it, that he had even carried it with him into battle; I found it rather dull, but since it had been my father’s I kept it carefully (his bloodstains were on the cover).”

Later in his adventures, having escaped various perils by the skin of his teeth and the use of his not inconsiderable wits, Felix has time to look into the book again, and reconsiders:

  “I had opened it at the place where Miss Susan, going to stay with her great friends in their abbey-residence, is terrified at night by a fearful storm and the discovery of a paper,hid in a closet in her bedroom, which she takes to be the confession of some wicked deed of blood – only to find, next day, that the mysterious paper is naught but a washing bill!  For the first time, this struck me as very comical; yet, reading it through again, I could see that the writer had represented the poor young lady’s terrors very skilfully; just such a nightmarish terror had I felt myself among those unchancy people in that heathen village – and yet for all I knew, my fears were equally foolish and unfounded!  I began to see that this was not such a simple tale as I had hitherto supposed, but must be attended to carefully; and I gave my father credit for better judgement than I had at first…wondering what kind of man my father had been..and hoping that some person in England would be able to tell me more about him.”

In an article for the Jane Austen Society, Joan Aiken describes with relish the content of  Mrs. Radcliffe’s bestseller, The Mysteries of Udolpho, which Austen had gleefully satirised:

“If we take a look at the works of Mrs. Radcliffe, we can easily see what tempted the youthful Jane Austen to poke fun at them…[they were] enormous historical canvases splashed over with forests and beetling fortresses and dark crags in the Appennines.  Mrs. Radcliffe went in for immense casts of characters on a positively Shakespearian scale (she was in fact much influenced by Shakespeare for whom she had great admiration); she had stabbings and shootings, suicides and assassinations, immensely complicated family relationships, long-lost relatives in every possible connection, suggestions of incest, mysterious resemblances, and, besides all this, a large number of startling, apparently supernatural occurrences..”

 

From this we can see that these earlier writers had an equally powerful influence on Joan Aiken’s own work, and by setting her novel,  Go Saddle the Sea in a rip roaring Gothic world of her own imagination in 19th century Spain, and with a nod to Austen’s own parody, she could have the best of all worlds!

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Go Saddle the Sea 1

Go Saddle the Sea is the first of the three ‘Felix’ Novels in EBook editions in the UK

For more details visit the Joan Aiken page at Random House

or visit the Felix pages at The Wonderful World of Joan Aiken

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Bridle 2 -Pat Marriott

Joan Aiken’s Gothic imagination is wonderfully matched in this trilogy

by the illustrations of Pat Marriott

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Joan Aiken for Grown Ups…!

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“It was dusk, winter dusk – snow lay white and shining over the pleated hills…”  Does this sound familiar? The opening lines of The Wolves of Willoughby Chase could almost describe a scene from Joan Aiken’s first adult novel, The Silence of Herondale,  published just two years after her famous children’s classic.  This novel, also set in a snowy landscape, draws on her Gothic imagination and ability to conjure scenes of suspense and sinister villains, with thrilling chases across wild snowy moors; but this time the story is written for grown ups, so will there be a happy ending?

In the pre-feminist 1960’s women’s struggle for independence had barely started, but in Joan Aiken’s novels, her courageous and free thinking heroines were based on earlier models from her reading of Jane Austen or the Brontes, or indeed on her own experience of being left a young widow with two children, and an urgent need to earn a living for herself and her family.  In one of Joan Aiken’s favourites,  Northanger Abbey,  Jane Austen had written a parody of the Gothic Novels she was reading in her day, such as Mrs. Radcliffe’s best-seller, The Mysteries of Udolpho, where hapless heroines found themselves in haunted castles threatened by unknown horrors.

Jane Austen’s juvenile skit, Love and Freindship, written in 1790 when she was fourteen, also poked fun at the Gothic school whose heroines, like Emily in Udolpho, faint at every emergency, both major and minor.  Sophia, one of the heroines of Love & Freindship, when dying, advises her friend Laura: “Run mad as often as you chuse; but do not faint.”  Over-indulgence in fainting  brought on pneumonia, which finished her off!

Aiken writing her 1960’s Gothic Romance was just as tongue in cheek! Her poor heroine, having arrived by night at a remote farmhouse on the Yorkshire moors, has to start up the generator to get the lights on (no shrinking violet she!) but the scene is written almost as a comedy, with a hysterical guard dog throttling himself at the end of his chain while our heroine wrestles with the machinery. Nevertheless all the trappings of romance are there – the heroine, Deborah has mysteriously lost all her possessions in a burglary, her family have all disappeared, the employer who takes her on as a governess to a young prodigy, almost immediately establishes a mysterious hold over her with veiled threats and blackmail, and at first sight it is impossible to tell whether the hero is the villain, or vice versa…

A trademark of Aiken’s writing, familiar to all who have been brought up on her books for children, is that she never writes down to her audience; her language is rich and often riotous, her settings exotic and extraordinary, and her plots absolutely bursting with action and excitement, so that her children’s books appeal just as much to adults, who seem to re-read them with pleasure throughout their lives. So what is the difference in her writing for adults – not a great deal perhaps?  In The Way to Write for Children – a guide commissioned by the Arvon Writers’ Foundation – she says:

“Children have tough moral fibre. They can surmount sadness and misfortune in fiction especially if it is on a grand heroic scale…it may help inoculate them against the real thing.  But let it not be total tragedy, your ending must show some hope for the future.”

So, in her writing for adults, is the chief difference that the book need not end happily?

You will have to read on and see…

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An early reviewer wrote:

” After a long life reading thrillers…I tend to turn impatiently to the end. Not so in the case of The Silence of Herondale – rather than wanting to rush ahead and discover the ending…I wanted to spin out to the last possible moment the pleasure of that discovery.”

 

The Murder Room at Orion are re-issuing six early thrillers  by Joan Aiken.

1st three Silence,Sunday Product X

All EBook Titles will be available with this dramatic new look

The Silence of Herondale is reissued in Paperback January 2020

Read more about all her Adult novels here.