Deborah Yaffe

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By Deborah Yaffe, Jan 3 2019 02:00PM

Over the last eight years, we’ve marked a plethora of Jane Austen anniversaries: the bicentennials of the publications of all six of her novels (2011, 2013, 2014, 2016, 2018) and the bicentennial of her death (2017). It’s lucky we’ve had all that practice, because 2019 will bring us three more notable Austen anniversaries – or, to be exact, three Austen-fandom anniversaries:


--Thirty years ago, the Jane Austen Society of Australia (JASA) was founded. A birthday party is already scheduled for December 14, just two days ahead of Austen’s own 244th.


--Forty years ago, the Jane Austen Society of North America (JASNA) marked its debut with an October 5 dinner at Manhattan’s Gramercy Park Hotel, attended by one hundred guests and covered in the New Yorker magazine. On the same evening this year, about six times that many people will raise a glass to JASNA in Williamsburg, Virginia, the site of this year’s Annual General Meeting. The conference theme is “200 Years of Northanger Abbey.” Actually, it’s 201 years, but who’s counting?


--Seventy years ago, the most beloved Austen pilgrimage site, Jane Austen’s House Museum – aka Chawton cottage, the house in Hampshire, England, where Austen wrote or revised all six of her completed novels – welcomed its first visitors. On the July 23 anniversary of the opening, the museum’s first seventy visitors will get in for the 1949 admission price (about a quarter of the current cost), and four days later everyone is invited to a birthday party.


After all the partying, by this time next year, you may feel inclined to take a breather. But don’t get too comfortable: 2020 marks the eightieth anniversary of the UK Jane Austen Society, the world’s first, whose initial goal was the raising of money to preserve Chawton cottage. And once that anniversary is safely over, it will be time to start thinking about the biggie just over the horizon: 2025, the two hundred and fiftieth year since Austen’s birth.


By Deborah Yaffe, Dec 20 2018 02:00PM

Eighteen months ago, not a single statue of Jane Austen was on public display anywhere in the world. And now, it appears, we will soon have three within a ten-mile radius.


Back in July 2017, the Hampshire town of Basingstoke, where Austen shopped and danced but never lived, unveiled a bronze figure of the author to commemorate the bicentenary of her death. In June of this year, the nearby village of Chawton, where Austen not only lived but also wrote or revised all six of her completed novels, installed its own, smaller version of the same statue.


And last month, Winchester Cathedral, where Austen is buried, quietly inaugurated a fund-raising campaign for its own Austen bronze, to be installed in the cathedral’s Inner Close. The sculptor is Martin Jennings, who has created public statues of everyone from George Orwell to the late Queen Mother. He envisions Austen backgrounded by a tree, a quill pen, and the famous writing desk on display in nearby Chawton cottage, aka Jane Austen’s House Museum. (I’m not bowled over by the mockup visible in this video, but I’m no art critic, so don’t pay attention to me.)


The cathedral has set an ambitious-sounding fundraising target of £250,000 (about $316,000) for the project, but so far its publicity efforts seem curiously low-key, at least to a pushy American like me. Although I have a Google alert for online mentions of Austen’s name, the campaign never surfaced there; instead, I stumbled across the Winchester effort by accident – only to learn that a JustGiving page has apparently been operational for nearly a month.


It looks as if I’m not the only Janeite in the dark: As of this morning, the crowdsourcing had raised a grand total of £71.65 ($90) from three donors, one of whom cheerfully commented, apropos of exhorting continued effort, “It isn't what we say or think that defines us, but what we do!” (**headdesk**)


Meanwhile, when a local newspaper reporter went looking for a quote last week, “a cathedral spokesman declined to discuss the Jane in the Close project.” Umm – what? It’s two weeks before the year’s biggest gift-giving holiday, and you don’t seize the chance to publicize your effort to raise money to commemorate one of the world’s most beloved novelists? It might be time to shop for a new spokesman.


Perhaps the spokesman is speechless with bemusement (which I share) at the proliferation of images of someone whose face is essentially unknowable. Whether you meet Austen's statue in Basingstoke, Chawton, or WInchester -- or wherever town next chooses to erect a bronze version of Our Jane -- you'll always be meeting a fiction. Which, come to think about it, is actually kind of appropriate.


By Deborah Yaffe, Jul 26 2018 01:00PM

Thirty-fifth in an occasional series of excerpts from Jane Austen's letters


As a novelist, Jane Austen was one of the greatest writers who ever put pen to paper. As a poet? Not so much.


The Austens were a literary family – reportedly, Austen’s mother was a dab hand at humorous verse, and as Oxford students, two of her brothers founded a magazine – so it isn’t surprising that Austen sometimes took a holiday from her true vocation and tried her hand at poetry.


Only a few of the results have survived, and although all are interesting to those of us for whom every scrap of Austen’s writing is a sacred talisman, as poetry – well, frankly, they aren’t very good.


The letter/poem that Austen wrote to her naval brother Frank, then in China, exactly 209 years ago today (#69 in Deirdre Le Faye’s standard edition of Austen’s correspondence) is a perfect example: as poetry, doggerel; as biography, delightful.


Austen writes the letter (which consists entirely of fifty-two lines of verse) to congratulate Frank on the recent birth of his second child and first son, who she hopes will turn out just like his father: a high-spirited boy who will grow into a kind and responsible man. She indulges in some jokey references to Frank’s childhood and then concludes with a glowing report on Chawton cottage, which the Austen women had moved into just three weeks earlier:


“Our Chawton home, how much we find

Already in it, to our mind;

And how convinced, that when complete

It will all other Houses beat

That ever have been made or mended,

With rooms concise or rooms distended.”


Today we know, as she could not, how important that “Chawton home” would become over the last eight years of Austen’s life. Chawton cottage -- now officially called Jane Austen’s House Museum -- was the place where she established the peaceful routines that enabled her to write or revise all six of her completed novels and send them out into the world.


It’s thrilling to glimpse her at the beginning of that fruitful journey – even if that glimpse comes by way of some pretty clunky verse.



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.


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