Over the centuries, women have been portrayed as many things: the innocent victim who is in need of rescue, the slut, the man-hater, the marriage-minded miss, etc. The problem with these images is that they are 2-D and without room to grow beyond the boxed-in perception. The only way to smash these stereotypes is to allow us to tell our own stories from our perspective.
This book is a classic for a reason. Forty-plus years after its initial publication, it is as relevant today as it was back then. Their theory that women writers have a greater insight and ability to create 3D fully human characters as opposed to the typecast idea of females that some male writers have can still be seen today on both the page and the screen.
A good biopic does more than lay out the basic facts about the life and work of the subject(s). It brings that story and the subject(s) to life, creating a connection between the audience and the characters.
There are certain cultural shorthands that we all know, even if we are unaware of the deeper context of the specific reference. When we talk about Mr. Darcy from Pride and Prejudice, he is symbolic of a romantic ideal that many aspire to, even if that aspiration is far from reality.
I loved this book. The author creates a nice balance of academic authority and adoring fandom without veering too heavily in either direction. It was a fascinating deep dive into this man who has become both a romantic icon and a character type for many a romantic male lead since 1813.
When Patrick Bronte died in 1861, he was the last surviving member of his immediate family. Outliving his wife and all six of his children, his legacy would have faded into history if not for the extraordinary books of his three youngest daughters.
Though history tells us that Patrick died without any descendants, author Catherine Lowell asks what if someone living today could claim otherwise. In her 2016 book, The Madwoman Upstairs, Samantha Whipple is an American woman raised in Boston who can make this kind of statement. Raised by her late unconventional father after her parent’s divorce, many believe that she has access to a treasure trove of previously unseen materials created by her ancestors. But Samantha has no knowledge of these artifacts and believes them to be fiction. When she enrolls at Oxford University, clues begin to confirm that what Samantha believes to myth is fact. Working with a handsome professor who she gets along with like oil and water, the mystery of her birthright starts to reveal itself.
I loved the first half of the book. There are plenty of Easter eggs to please the most ardent of Bronte fans. I will warn that the reader should go into the novel with at least some knowledge of their life and work. Otherwise many of the details of the plot will go over their heads. The problem is the second half. The unraveling of the truth is not as exciting as it could be. Neither is “romance” between Samantha and her professor. The sisters are known for heart pounding, blood pumping sexuality (Charlotte and Emily to be specific. Anne‘s novels are not as highly charged in that manner). There is no chemistry between the characters, nor do I believe that in their happily ever after.
It takes a brave or naïve person (or both) to step out of the boundaries that the world around them has created. This person knows that when they start to think for themselves, there is a potential firestorm of naysayers and finger pointing. But they do it anyway.
I loved this book. The artwork is beautiful, the description of the subjects are beautifully written. It made we want to learn more about these women and continue to work towards the day when my writing will be as good and inspiring as theirs.
Among Bronte fans, Lydia Robinson is seen as a controversial figure. Employing both Anne and Branwell as a governess and a tutor respectively, Lydia appeared to dutifully follow the rules of both gender and class that ruled women of the Victorian era. She was also having an alleged affair with Branwell. Bronte’s Mistress, the debut novel by Finola Austin, gives Lydia the voice that fans of the Bronte’s have yet to hear.
I’m looking forward to the novel and I am thrilled that Finola will be answering a few questions.
AB: What drew you to the Brontes and more specifically, Lydia’s story?
FA: I have always loved Victorian literature. I grew up reading the novels of writers such as Charles Dickens, the Brontes, George Eliot, and Thomas Hardy, and studied Classics & English as an undergraduate at the University of Oxford. I then stayed on at Oxford to complete a Masters in English Literature, 1800-1914. My dissertation was on the works of Victorian sensation novelists Mary Elizabeth Braddon and Wilkie Collins, but I also wrote an essay on student/teacher attraction in the novels of Charlotte Bronte as part of my graduate studies.
I was drawn to Lydia’s story in 2016 when I finally read Elizabeth Gaskell’s The Life of Charlotte Bronte (the first Bronte biography). It was a book I’d been meaning to read for a very long time. Gaskell describes Lydia as a “profligate woman,” who “tempted” Branwell into sin. I was enthralled by the scandal and controversy (Lydia threatened to sue Gaskell for libel), as well as by the Bronte connection. I just knew this was a story I had to tell.
AB: When did you read your first Bronte novel and what was your impression of that first book?
FA: My first Bronte novel was Jane Eyre and it was read to me by my mother, when I was pretty young—I’d guess I was seven or eight at the time? I loved the book, especially the early sections set during Jane’s horrific schooldays. But, even as a child, I had questions. I didn’t think I’d have been as good as Jane, refusing to live in sin with Rochester, and I thought Jane was very judgmental, especially of Blanche Ingram. Wasn’t she just trying to make her own way as Jane was?
AB: Do you have a favorite Bronte novel?
FA: Jane Eyre is probably still my favorite, though I also love Charlotte’s Villette.
AB: You spent a year researching the novel. Can you describe your experience with the research and how that changed your impression of the characters along the way?
FA: My full research process is detailed in my Author’s Note at the end of my novel, so no spoilers here, but I will say it was extensive. A huge focus was understanding the lives of Lydia’s servants better, and this was an area where my research went beyond a lot of what has been done by Bronte scholars through the years. The most fun part of my research was visiting Yorkshire. I found it quite emotional to see the graves of many of the Robinson family and their neighbors, and to visit the Monk’s House, the building where Branwell once slept.
My research gave me a much fuller understanding of my characters. For the servants, it told me what roles they played in Thorp Green Hall, who their loved ones were, and what happened to them after the disbandment of the Robinson household. When it comes to Lydia, in my work in the archives of the Bronte Parsonage Museum, I held 1) an inventory of her furniture, allowing me to picture the objects that surrounded her; 2) eighteen letters in her hand, giving me her distinctive sign-off, “yours very truly,” which I use throughout the book; and 3) her husband’s accounts book, which is important to the plot of my novel.
AB: The hardest thing for a historical novel to do is to balance the history with the fictional narrative. How did you stay true to the history of your subjects while making the story palatable for modern readers?
FA: Bronte’s Mistress, unlike many historical novels, has a very quiet backdrop—this is rural Yorkshire, not Dickensian London. Wars and politics are distant concerns to the Robinsons and their peers. This makes the balancing act of history and narrative a little easier than if I was writing characters on a grand historical stage.
Bronte’s Mistress is also written in first person, so I hope Lydia’s voice is what readers find compelling. Through it, we can cut through the formalities of Victorian middle-class existence and get to what’s human, timeless and universal—the voice inside us.
AB: Did you have any expectations about Lydia when you started the research or were you open to whatever information you were able to locate?
FA: I held myself to a very high standard, when it came to the accuracy of my story. By that I mean that everything that happens in Bronte’s Mistress is something I think could have happened, based on all the facts currently at our disposal. Where the fiction piece comes in is in exploring what characters thought, felt and said. What I was looking for when researching the novel was dramatic possibility. I searched for the places that the historical record was silent and looked to create something beautiful in that void.
AB: How do you think Bronte fans will react to your novel?
FA: I hope fellow Bronte fans will discover the more subtle references to the works of all three Bronte sisters in my novel! These were fun to include and are little Easter eggs for you. I also think they’ll be excited to see Branwell and Anne, the overlooked siblings, foregrounded in this novel. Their time at Thorp Green Hall was very important to both of them—to Branwell’s deteriorating mental state and to Anne’s development as a talented novelist.
AB: If you were casting the movie version of the book, which actors would you ideally cast?
FA: This is a question I can never answer. My characters are like real people to me in my mind, so they don’t resemble actors (though of course I’d be thrilled to see them portrayed on screen!). One thing I do know is I that I would want an actor of the right age to be cast as Lydia. Lydia is forty-three at the start of my novel, and forty-eight by the end. She’s not the typical historical fiction heroine, who seems to be rarely older than twenty-one! There’s such a problem with women actors disappearing from the film industry when they’re deemed “too old” to be the romantic lead, but “too young” to be the matriarch. I think this would be a fantastic role for an actress in this, all too often, invisible decade.
AB: In your novel, Lydia Robinson could be interpreted is a more empathetic or even feminist character than Bronte lore implies. Was this your intention or did her character change as you were writing and researching?
FA: Lydia is no saint. She’s flawed—by turns, self-centered, petty, and oblivious to the emotions of those around her. And, even if in some ways she’s a feminist, straining against the strictures of nineteenth-century womanhood, she’s definitely a “bad feminist.” She is classist; she pretends to be against slavery for attention at a dinner party; and she is horrified when another character tells her they are attracted to people of the same sex. But, despite all of this, I hope that readers can have empathy for Lydia and her impossible situation. She’s been raised to do one thing—marry and produce children. She’s done that and she’s facing the question “now what?” Her husband is cold and uncaring. She has no recourse to divorce. She’s doomed to a life without sex, freedom, or excitement. I see Bronte’s Mistress as an exploration of the extreme claustrophobia of upper middle-class women’s lives in the period, and of the ways many women perpetrated misogyny, while also suffering from the consequences of it themselves.
AB: This is your first published novel. What advice do you have for aspiring novelists?
FA: Read constantly and critically. Join a writing group for feedback. Write an outline. Don’t use filter words. Finish the books you start.
To say that I am a bookworm is an understatement. As you might expect, I’ve read quite a few books this year.
Without further adieu, my list of the best books of 2019 is below.
The Women of the 116th Congress: Portraits of Power: This book is #1 because it represents how far American women have come and how far we need to go before we are truly equal. In celebrating the success of these female politicians, the authors are paving the way for the next generation of women to represent their country.
It is said that opposites attract. It can also be said that one can learn a lot about a person by knowing who and where they come from.
At first glance, the marriage between Maria Branwell, a gentlewoman from Penzance and Patrick Bronte, a fiery and poor clergyman from Ireland seemed like a mismatch. But if one were to look closer, one would see a marriage seemed almost ideal.
Sharon Wright’s new book, The Mother of the Brontes: When Maria Met Patrick, is the story of the marriage of Maria Branwell and Patrick Bronte. Maria was born in Penzance in 1783 to a prosperous family. Patrick was born in 1777 to a large and poor family in Ireland. Their courtship and marriage in 1812 to some might seem a bit impetuous. By the time she died in 1821, Maria brought six children into the world. Three daughters and a son, Branwell lived to adulthood. Her daughters, Charlotte, Anne, and Emily are revered today as some of the greatest writers of all time.
I loved this book. I loved it because it gave Maria the spotlight she rightly deserves. When we talk about the Brontes, their mother is often a footnote or a line or two. She is rarely given her due as a mother ought to receive. In bringing Maria’s story to life, the reader gains a greater perspective on her daughters and the literary worlds they created.
My only warning is that this book is not for the casual Bronte fan or the average reader looking for another book to read. It is for a reader who is well versed in the Brontes and their books.
During Anne Bronte‘s time, the expectations of woman’s life was simple: marry upon reaching adulthood, bring children (boys preferably) into the world, support her husband and live a quiet, appropriately feminine life. But Anne Bronte was not just any woman and she did not come just any family.
With her elder sisters Charlotte and Emily, Anne has become one of a handful of 19th century women writers whose influence has lasted long after her brief time on Earth. Her two novels, Agnes Grey and The Tenant of Wildfell Hall, speak to a woman’s condition and what she must endure because she is a woman.
Agnes Grey is about a young woman who works as a governess for wealthy families. Her charges are spoiled and wild, their parents do nothing to curb their bad behavior. The Tenant of Wildfell Hall is about spousal abuse, alcoholism and the choices that some women must make to remove themselves and their children from that environment.
The thing that I love about her books is that they are grounded in the real world, as a pose to the fantasy-ish world of her sister’s novels. An example of this is the romanticizing of Heathcliff in Emily’s Wuthering Heights. Upon the first read, Heathcliff is the romantic hero pining for Catherine Earnshaw. But Heathcliff reveals himself to be a brute and have serious anger issues.
In The Tenant of Wildfell Hall, Anne reveals the harsh truth of what it is to live with an abusive spouse. In her era, divorce was hard to come by and marriage was for life. Women were told to look the other way when their husbands acted less than honorably.
If there is one takeaway I have from both books, it is that the issues that she wrote about are still front and center today. Which is why Anne Bronte and her books are still being read today.
Wherever she is, I wish her a very happy birthday.
Among the great writers of the 19th century, the Bronte sisters stand tall. Lionized as proto-feminists and adored in the literary community for their contribution to the world of literature, fans sometimes have to ask themselves where fact ends and fiction begins.
In 2001, Lucasta Miller published The Bronte Myth. The book starts with the brief lives of the Charlotte, Emily and Anne Bronte and follows their posthumous celebrity as their image is shaped to fit the needs of the biographer. In the book, Ms. Miller delves deeply into the facts and the myths of the Brontes and how both have been used to tell the story of the legendary sisters.
When I heard about The Bronte Myth, the concept sounded interesting. I am sorry to report that the concept I had in my head did not meet reality.
The book is not for the casual or virgin Bronte fan. It borders on academic and is probably better suited for a reader who is well versed in the story of the Bronte sisters, their brother Branwell and father Patrick. But my main issue is that Ms. Miller spent most of the book talking about Charlotte. Granted, Charlotte lived the longest of her siblings, but the book is not entitled The Charlotte Bronte Myth. She spends about 60% of the book talking about Charlotte, 20% talking about Emily. The other 20% are given to Anne, Branwell and Patrick. I think I would have liked this book more if all of the Bronte siblings and their father were given equal attention.