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Friday, October 16, 2015

Elena Ferrante's article today championing Elinor Dashwood & Jane Austen



In support of the publication today of Elena Ferrante's introduction to a new edition of S&S, the following piece by Ferrante was just published online in The Guardian:
“Elena Ferrante on Sense and Sensibility: ‘I was passionate about Austen's anonymity’  
Jane Austen kept her identity secret – Elena Ferrante, whose ‘Neapolitan’ series of novels has taken the literary world by storm, does the same. She pays tribute to a novel that casts a clear gaze on the condition of women
“The fact that Jane Austen, in the course of her short life, published her books anonymously made a great impression on me as a girl of 15. It was the surly English teacher who told us this, and I was tempted to ask why, but I soon abandoned the idea, out of timidity. Meanwhile, I read Pride and Prejudice, but it didn’t interest me. At the time, I was enthralled by the great male adventure novels, with their stories that ranged all over the world, and I wanted to write such books myself: I couldn’t resign myself to the idea that women’s novels were domestic tales of love and marriage. I was past 20 when I returned to Austen. And from that moment not only did I love everything she had written but I was passionate about her anonymity. Sense and Sensibility appeared in October of 1811, in three volumes, with the sole clue: “By a lady”. The three other books that she published in her lifetime – Pride and Prejudice (1813), Mansfield Park (1814), Emma (1815) – also came out anonymously. As for the two novels published posthumously in a single volume, Persuasion and Northanger Abbey, they, too, appeared without the name of the author, but with a note about Austen written by her brother Henry: an interesting example of how the living can both respect and, at the same time, violate the memory of the dead.
I still like to contemplate the moment when Austen decided to make public one of the texts she had been secretly working on for years, to have it printed at her own expense, and even to renounce the idea of a pseudonym. Who wrote Sense and Sensibility? Who invented Marianne and Elinor and their mother and the many female characters who appear, disappear, reappear, first in the confined space of the country, then in London, and, finally, again in the country? Who devised the plot that led both to marriage? Who advanced the story by means of verbal exchanges, conversations that in wit, intelligence, and dramatic force rival those of Shakespeare? Was it Jane Austen or, simply, a lady, no name or last name, an extremely cultured, extremely perceptive lady who was well acquainted with the ways of the landed gentry, who knew the rituals of the London bourgeoisie, who was aware of how unstable the world is – of how everything changes in spite of sense and in the tumult of sensibility?"



Ferrante then goes on in satisfying length answering her own question. While I ultimately disagree with her core position (oversimplified, she sees Marianne very negatively and Elinor very positively, while I say that is only the overt story of S&S, which I say JA reversed in her shadow story), Ferrante makes her case very eloquently and intelligently, so her essay is well worth reading and rereading in full, as I will do in the coming days.

Cheers, ARNIE
@JaneAustenCode on Twitter

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