Deborah Yaffe

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By Deborah Yaffe, Jan 30 2014 02:00PM

Merryn Williams’ completion of The Watsons, Jane Austen’s fragment of a novel, is a modest undertaking.


With new material that runs only slightly longer than the brief original, Williams’ version -- the subject of today’s post in my "Watsons in Winter" blog series -- stakes no great claim to breadth, depth, or originality. No new characters erupt into Austen’s story; no unexpected plot twists deform the expected course of events.


And yet, this very modesty is disarming, even appealing. By the time Williams’ conclusion rolled around, I found myself a bit sorry to bid her characters goodbye.

By Deborah Yaffe, Jan 6 2014 02:00PM

The Watsons, the novel Jane Austen started and then abandoned on the cusp of her thirties, is a wintry book: not, perhaps, in its chronology – the story starts in October – but in its mood.


In a swift fifty-five pages, most likely written in Bath in 1804, Austen sketches a middle-class family trembling on the edge of economic disaster – an ailing father, four single daughters with few marital prospects, and two sons whose fledgling professional lives are shadowed by the knowledge that they may soon have to support their spinster sisters.


The nineteen-year-old heroine, Emma Watson, is an outsider in her own home – unceremoniously packed off to her family after fourteen years in the household of an aunt whose brand-new husband has decided to renege on the implied promise of a home and a dowry.


The Watsons seems likely to feature plenty of Austen humor, stemming from both the naiveté of the good-hearted Emma (“Rivalry, treachery between sisters!” she exclaims in astonishment when she hears how one of her siblings scotched the marital prospects of another) and the excesses of such secondary characters as the shallow, social-climbing sister-in-law, Jane; the whiny and hypocritical younger sister, Margaret; and the flirtatious Tom Musgrave, playing wingman for the standoffish Lord Osborne. Behind these shadowy beginnings of characters, we glimpse the familiar, well-loved figures of Mrs. Elton and Mary Musgrove, Frank Churchill and Mr. Darcy.


But despite the flashes of wit (Margaret, hearing she won’t have to share her room with Emma, is “rather mortified to find she was not ill-used”), the prevailing mood is dark. Barely acquainted with her closest relations, Emma struggles with feelings of loneliness and rejection and sadly discovers that the fierce competition for survival and social advantage has embittered many of the people she left behind. In places, the fragment reads like the first romantic comedy written by Hobbes.

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