James Henry Leigh Hunt, to give Hunt his full name, was one of those people who everyone who was anyone in either politics or the arts knew, or at least knew of. In 1808, aged only 24, he, together with his older brother John, set up The Examiner, a weekly political paper which prided itself on its political independence; it was liberal and reformist in its opinions and it attacked, ferociously, whatever Hunt felt deserved it.
Leigh Hunt by Benjamin Haydon, courtesy of National Portrait Gallery
This week, I’m stepping back in time – a long way: to 1980 in fact, when I sold my first Rachel Summerson novel, Hearts are Trumps, to Sidgwick & Jackson. The following year, it came out in America, published by St Martin’s Press who renamed it Belgrave Square: A Novel of Society.
Me lecturing at Caerleon Writers’ Holiday, something I enjoy doing.
In 2013, Joanna Trollope published Sense & Sensibility, one of the Austen Project books which aimed to re-write Jane Austen’s novels, scene by scene, but in a modern setting. I have only just read it, and I can’t understand how I came to miss it – perhaps because 2013 wasn’t a good year for me. I thoroughly enjoyed it, and she has an interesting take on Margaret Dashwood.
This post is in two parts. This week I shall look at the role of Margaret Dashwood, firstly, in Jane Austen’s Sense & Sensibility and then I’ll contrast it with Emma Thompson’s depiction of Margaret Dashwood in her Screenplay of Sense & Sensibility which won the 1996 Academy Award for Best Screenplay, as well as earning Emma Thompson an Oscar for Best Adapted Screenplay. The differences are interesting.
Lockdown does strange things. I’d been thinking for a long time about getting my back list of 10 novels into e-books but, somehow, it’s remained at the thinking stage. Should I edit and re-write my early novels – I could see where they needed work – or I should operate on the ‘sod it’ principle and, after altering any spelling mistakes or obvious errors, publish them as they originally were. I’d begin with my first Elizabeth Hawksley: Lysander’s Lady, and put them into e-books sequentially, ending with my most recent novel, Highland Summer.
Arthur Mee (1875-1943) was one of the most successful children’s non-fiction writers of the first four decades of the 20th century. His name is now almost forgotten but, in his time, I think it is fair to say that everybody knew him. He was the literary editor of Alfred Harmsworth’s Daily Mail from 1903 until his death in 1943 and he collaborated with Harmsworth on a number of publications like The Self-Educator (1905-7), and The History of the World (1907-9). Perhaps his greatest talent was his ability to organize a huge and diverse amount of general knowledge and disseminate it to the general public (in particular, children) in ways which stimulated their imaginations and kept them coming back for more.
Arthur Mee at his desk with ‘The Children’s Newspaper’, courtesy of Wikipedia
Singing ‘Happy Birthday’ twice after washing one’s hands, even sung silently, must be one of the most uninspiring Government directives ever given. OK, I can understand why they chose it – everyone knows it and it offends nobody, but all the same, you must admit that it’s dull.
A Tudor kitchen
I was thinking of this, when a sentence in a Tudor recipe sudden;y popped into my head: ‘Stir for as long as it takes to say a paternoster.’Pater noster is Our Father in Latin and it means, of course, The Lord’s Prayer. How long does it take to say, I wondered, so I took off my watch and timed it. Continue reading Must it be ‘Happy Birthday’?
My late 19th century copy of Manners and Rules of Good Society by ‘A Member of the Aristocracy’ deals with everything a novelist or reader could possibly want to know about how Society operated and, as far as I can tell, the same rules applied in the Regency period. This week, I want to look at the knotty question of how one introduces somebody to someone else with regard to Jane Austen’s novels, or, indeed, any Historical novel set before the First World War.
‘Manners and Rules of Good Society’ by a Member of the Aristocracy. My copy is an 18th edition which dates from 1892
I have long loved the stylish and witty novels of Georgette Heyer (1902-1974) and I know that I am not alone. The actor, playwright and composer, Noël Coward, also enjoyed her novels and admired her technique – especially her clever use of irony. The novelist A.S. Byatt itemized why Heyer’s Regency novels were so successful: ‘Paradise of ideal solutions, knowing it for what it is, comforted by its temporary actuality, nostalgically refreshed for coping with the quite different tangle of preconceptions, conventions and social emphases we have to live with. Which is what good escape literature is about.’ Heyer did her research properly; her Regency world may be limited in its social range but she undoubtedly had the gift of drawing her readers in, holding them spellbound, and making them laugh and feel better.
This year is the poet William Wordsworth’s 250th birthday. So why should we celebrate him?
From a 21st century point of view, the problem with William Wordsworth (1770-1850) is that it’s difficult to label him neatly. He was an early Romantic poet who held radical views. His fellow-poet contemporaries, John Keats, Percy Bysshe Shelley, and Lord Byron, who knew him personally, all predeceased him by at least twenty-five years. We cannot know how Byron, Keats and Shelley would have turned out if they had lived, but Wordsworth, unromantically, became an Establishment figure, one of the nation’s most loved and respected poets, and ended up as Poet Laureate.
William Wordsworth by Benjamin Robert Haydon, 1842. The poet is standing under the brooding mountain, Helvellyn, as darkness falls. Photo, courtesy of the National Portrait Gallery.