I felt a bit shameful about the idea I should – in my wish to chronicle the films I’ve watched – have to put 18 months together. Then I looked at the below list, compiled from those months, and thought it was a brilliant idea. Being an avid reader who can’t read and watch screens at the same time equals I haven’t watched very much… and actually none of the below were watched this year. I did binge-watch Bridgerton (loved the first two seasons, hated the third, am keeping Queen Charlotte for some time in the future because once it’s watched it’s all over), but beyond that there’s been little.

Barbie (USA, 2023) – I loved this right up until the end where, to me, the whole premise seemed to have been thrown out. I don’t know, I was very confused.

Dungeons & Dragons: Honor Among Thieves (USA, 2023) – Very good, though I personally thought it would have been better if it had showed the players playing the game sometimes, instead of it being fully lore-based.

Encanto (USA, 2021) – Not the best Disney’s ever made but fun. Admittedly probably a lot better if you’re in the target age group.

Everything Everywhere All At Once (USA, 2022) – I still to this day do not understand much of what went on here but it was a blooming good film regardless.

The Huntsman: Winter’s War (USA, 2016) – The first one was much better.

Maleficent (USA, 2014) – I loved the message about true love.

The Little Mermaid (USA, 2023) – I’m not too interested in the live action versions that are heavily CGI-based but I suppose you can’t really get around it for this. I did enjoy it otherwise and thank god the dog doesn’t get killed.

Plus One (USA, 2019) – Very bog standard storyline but a good cast, excellent script, and the general execution is good as well.

Shazam! (USA, 2019) – I absolutely loved this film. It was just lots of fun, not overly predictable (within the scope of a genre that is predictable), and did different things to other action films.

Shazam! Fury Of The Gods (USA, 2023) – I looked forward to this so much. It was awful.

Tomorrow Never Dies (UK/USA, 1997) – It starred Michelle Yeoh. I can’t remember the rest – I find I either really enjoy or just tolerate James Bond films.

The World Is Not Enough (UK/USA, 1999) – Ditto the above, minus Michelle Yeoh because she’s not in it.

I am still upset about the second Shazam!. I think if it hadn’t trodden the same plot that every bad sequel seems to tread it would’ve been great – more about the kids, less about the new ‘worse than the last one’ bad guys. Everything Everywhere All At Once was probably, objectively, the best, but my favourite would have to be that first Shazam!.

The ultimate unreliable narrator.

Twelve year old Edith lives permanently in her father’s theatre, the only theatre remaining in Edwardian Norwich. She cannot leave for the curse put upon her when she was a baby ruled that if she were ever to leave, the theatre would fall down. Then the person who put the curse on her exploded. (It did happen in a theatre after all.) Now Edith’s got a play of her own in mind that she wants her theatrical staff-family to put on: never having left the theatre, Edith’s done a monumental amount of reading, has learned all there is to know about Norwich (she probably knows more than residents who may traverse it freely) and has learned that a large number of children have gone missing over the years and the culprit is a nasty old woman called Mawther Meg. As her father’s doppelganger understudy confuses her, Mr Measly keeps trying to get her to hug him, her father’s four dead wives’ clothes remain in his rooms, Aunt Bleachy calls her bucket and talks lovingly about her Mop, and father’s new fiancé tries to lure Edith out down the steps of the main entrance (she’s the heiress to the Beetle Spread factory, made of exactly that ingredient) Edith attempts to outwit them all, stay away, and write the truth about what happened to the children.

Edward Carey’s Edith Holler is a bonkers and often confusing book about a young girl’s struggle to be noticed in a way that is full of respect and care, to be listened to. It’s a phenomenal piece of literature and art (Carey’s drawings are included) and is a delight to read. To quote the oft-mentioned-by-Edith Hamlet, ‘To be or not to be’ is precisely the question. Who, what, and, sometimes, where, is Edith? You’ll change your mind very often while reading this book.

On the one hand you have, as stated, an unreliable narrator – it can get incredibly frustrating being in Edith’s head, you’re stuck to her narrative like she’s stuck to her theatre – and on the other hand you have something incredibly true. Confusing? Yes, it is. The thing with Edith Holler – referring to the entire book here rather than the character, though the book and character may be one and the same, who knows? – is that it is wholly theatrical. Edith’s narrative is like a monologue – it is a monologue, just one by a child so, unlike your usual monologue plays, it goes on a bit due to lack of maturity and lack of editing. She does ramble so. (Potentially necessary note: the book as a product of Edward Carey, author, is edited.)

Having written the bracketed sentence it makes sense to now mention the ‘reason’ for this book. This reviewer’s jury is undecided. Possibilities range from mental illness (and across the road is a mental hospital), to child abuse, to a play within a play or play in a book entirely, to puppetry and animation. Where you are indeed with Edith throughout, I think it’s fair to say you may never reach a complete conclusion, but isn’t that just the way with pieces of theatre (and literature) sometimes?

Carey’s theatrical concepts – we should maybe say ‘Edith’s concepts’ because if Edith were told she was a creation of an author originally from Norwich she’ll either self-destruct in fear or depression (that might be appropriate) or, likely as she is with Karl Baedeker the famous guidebook author, become rather obsessed – are both purely his own and taken from various plays. There’s blood and death everywhere, very often, a bit like Shakespeare; there’s children’s toys and dolls and we might be in a doll’s house, like a meta reference to Ibsen. Dolls house – add that to the list of possible ‘reasons’.

On toys, we need mention Carey’s drawings. Carey has included drawings in all of his works and they are always intriguing but I think it’s apt to say they’ve taken on a particularly important role here – pun definitely intended. (Add a child playing with her toys to the list of possibilities.) The drawings present a very strong case for a particular meaning and reason for the whole book, for Edith and everyone else. So too does the fact that, if you visit Carey’s website, you’ll find a printable card theatre with a range of characters included.

I’ll include a single other character of note, though there are more – Edith’s father’s fiancé, whose introduction in the book ushers in a new era and many new questions for the reader. Or are we, perhaps, members of the audience as well?

I’m starting to sound like Edith, I fear, so here’s a related yet different topic: Carey’s necessarily limited portrayal of Norwich is appealing. It is in fact due to the limitations Edith’s life sets on the text that perhaps makes it stand out all the more – there’s a lot of very specific street-to-street facts here, a bit like the guidebook Edith loves (oh this is all getting too meta!) that allow you to know a nice amount of information about this city in its Edwardian form. Norwich too is part and parcel of this text – there are again many inspirations, and literary metaphors abound.

Edith Holler, then – again the book, not the girl, though the girl is probably stomping her feet at me for the twice-now dismissal of her person – is quite the literary feat. The literary (genre) elements, the intertextuality, the use of and grounding in its location, and of course the overriding theatricality and artistic nature of it are superb. Best read alongside reader-led research into the various parts (especially if you do not know Norwich – the nearest this reviewer has been is Lowestoft and that as a child) unless you are well informed already. It’s a great experience.

I was sent this book in order to interview the author.

Publisher: Gallic Books (Belgravia)
Pages: 390
Type: Fiction
Age: Adult
ISBN: 978-1-913-54778-3
First Published: 31st October 2023
Date Reviewed: 30th August 2024

I have been scrabbling with my book choices in recent years, at least when it comes to reading not undertaken for a podcast episode (that reading is prescribed and enforced, essentially by myself). I think, given I’m now emerging from a major blog hiatus, it was likely caused by the goings on of those recent years, and now I’m looking at my reader self and asking her if we might get some order in the ranks.

While I love the idea of reading by mood, I’m definitely someone who benefits from a bit of planning because those moments of wondering what to read create a paralysis of choice which is enough to make my excitement pack up and suggest that an entirely different activity is the thing to do right now.

(It was fascinating going back through old blog posts to see what I’d written about reading lists in the past – in 2012 I said they absolutely did not work for me, in 2015 I started seeing the benefits at least where being a book blogger was concerned, and at the start of 2020 I was loving them but saying that balancing it with mood reading was best.)

About a month ago I started mulling the idea of creating a reading list for non-podcast books. I realised I should choose books for it carefully with the idea that I’d spend time on the choice now, all at once, for an easier time of it later. I had books that came to mind immediately – books I wanted to read soon, regardless of any lists, and others I’d meant to read but not got to. I consider myself to have failed at my Classics Club list (paralysis of choice strikes again!) so I figured the whole idea did need some thought.

And some rules. Firstly, I’m not going to let the list get too long – I can have ideas for it, but they can’t just be added whenever. (First and a half – it should probably be something along the lines of one book finished, add another one or, better still, finish a few, add a few, all at once.) Secondly – I shouldn’t think I can’t blithely add books I’ve had for years and ride off into the sunset. Being honest with myself, I’m going to have to read a lot of newer books – or at least new-to-me books – to give myself a solid psychological backing for any of that ‘finally getting to it’ stuff. I am, after all, the person who’s been moving Vanity Fair to each year’s brand new list of books read every year now since 2012. Thirdly, and most importantly – I need to be careful of letting books languish on the list and not let them become books I’ve had for years. And it should go without saying that there needs to be plenty of books I’m excited about and a mixture of genres. I think after having read lots of books I’m excited about that excitement is likely to sustain itself for some ‘I was excited and then left it too long’ books.

After thinking up an actual list and mulling over putting it out there for the last week, I’m going to do so. I’m not going to come back and update this list, I think that would spell trouble; if they get read they’ll be in my round ups and quite possibly reviewed. (That’s another thing I’ve decided going forward – I miss reviewing and having my notes but I won’t return to my old ‘must review’ process. Books will get reviewed if I want to review them.) Part of me wants to discuss the following book choices but I think that’ll also create some pressure.

So, here we go. I plan to read, ordered by author’s first name:

Gabrielle Zevin’s Tomorrow And Tomorrow And Tomorrow
Gill Paul’s Another Woman’s Husband
Jennifer Saint’s Ariadne
Kristy Woodson Harvey’s A Happier Life
Natalie Jenner’s The Jane Austen Society
Raven Leilani’s Luster
Rebecca Yarros’ Fourth Wing
Susan Stokes Chapman’s The Shadow Key
Zachary Levi’s Radical Love

And that is plenty to be getting on with.

I previously had three other books on the list – Tasneem Abdur-Rashid’s The Thirty Before Thirty List, Maggie Brookes’ The Prisoner’s Wife, and Gill Paul’s Scandalous Women. As you may have noted by those titles having been mentioned here recently and by reading my blog in general, I’ve already read them. That was another thing I thought was important – waiting a few weeks to see if it would stick.

Do you make/use reading lists? And what is your history with using/not using them?

Episode 106: Nikki Marmery (Lilith)

Charlie and Nikki Marmery (Lilith) discuss her epic story that looks from the start of the Genesis story all the way to our present day, showing how the biblical stories did away with an all-important goddess for women – Yahweh’s wife – and the consequences that has had. There is discussion, too, on the Gnostic gospels, various mythologies, and environmentalism.

If you’re unable to use the media player above, this page has various other options for listening as well as the transcript.

On an afternoon when I was too tired to edit podcasts or write anything, I decided to dip my toe into the waters of ChatGPT – I’d heard about it and wanted to see what it could do. I did, as you’ll see, make a point of asking for citations and, after seeing that it was likely paraphrasing secondary sources, turned to asking for quotations because I’m a stickler for sources and am uninterested in plagiarism. I thought this particular… conversation?… might make an interesting post, especially as it could be useful for those who are wondering, as I did, what it can do.

I decided that being decidedly polite would help give context to the AI. I don’t know if it really did, but knowing what I do about search engine optimisation I figured some thought-out phrasing wouldn’t go amiss in helping the AI understand what I wanted to know.

The quotes from years that books are still in copyright did give me pause, as much as I loved seeing them. Hopefully it’s just pulling book quotes from GoodReads or freely-available secondary sources; I’m not sure whether at this moment in time to what extent digital books are used in AI training. This said, later questioning on the subjects of recent book releases strongly suggested that ChatGPT does not have details beyond summaries – it was unable to form any information beyond vague thematic details about Sara Nisha Adams’ 2021 debut The Reading List, likewise Elissa Soave’s 2022 debut Ginger and Me – it had a slight sense of the premises but I believe if pushed it would have replied with an apology for its ignorance.

The below is an edited version of a conversation I had with ChatGPT about Pride And Prejudice. I have deleted some of the queries because the whole conversation was 13 pages long in 12pt due to its bullet point formatting, a formatting I deemed appropriate for the dissemination of the content provided but I don’t expect many if any or you are going to read every single quotation – I certainly didn’t as it’s not the point of this post. My questions are in bold in their original poor punctuational glory. I have annotated the conversation at times when I changed tact, and these can be found throughout the post in between the separate queries, the separate queries being placed in quotation blocks. You will have to forgive me for not en-boldening or italicising names, titles, and the words ‘quote’ and ‘source’ as ChatGPT did – I write my blog in HTML and formatting the bullet points correctly took long enough by itself.

what are some opinions about pride and prejudice? please provide citation details

“Pride and Prejudice” by Jane Austen is a highly regarded classic of English literature, and opinions about it can vary widely depending on the perspective. Here are some commonly expressed opinions along with citation details where relevant:

1. Positive Reception: Many critics and readers praise “Pride and Prejudice” for its wit, social commentary, and well-drawn characters. The novel’s exploration of themes like class, marriage, and individual agency has been lauded for its relevance and insight.
• Source: Brownstein, Rachel. Pride and Prejudice: The Novel and the Movie. Twayne Publishers, 1999. Brownstein discusses the enduring appeal of Austen’s characters and narrative style, highlighting their significance in literary history.
2. Feminist Perspective: Some feminist critics appreciate how the novel subtly critiques the limitations placed on women in the early 19th century, while also celebrating the protagonist’s agency and independence.
• Source: Poovey, Mary. The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Jane Austen, and Maria Edgeworth. University of Chicago Press, 1984. Poovey’s analysis includes discussions on how Austen’s characters navigate and challenge gender norms.
3. Criticism of Class and Social Hierarchies: Critics have pointed out that while the novel criticizes certain aspects of class and social hierarchy, it also perpetuates class distinctions by ultimately rewarding characters who conform to societal expectations.
• Source: Johnson, Claudia L. Jane Austen: Women, Politics, and the Novel. University of Chicago Press, 1988. Johnson explores the novel’s engagement with social class and its implications.
4. Literary Style and Structure: Austen’s use of free indirect discourse and her narrative style are often highlighted for their innovation and effectiveness in conveying characters’ inner lives and social commentary.
• Source: C. E. M. (Charles Edward Mendenhall). Austen’s Use of Free Indirect Discourse. Modern Language Notes, vol. 75, no. 8, 1960, pp. 549-556. This paper examines Austen’s narrative techniques and their impact on the reader’s engagement with the text.
5. Enduring Popularity: The novel’s lasting popularity is often attributed to its relatable characters and the universal themes it addresses, which continue to resonate with readers across different cultures and time periods.
• Source: Kaplan, Deborah. The Pride and Prejudice Companion: An Unofficial Guide to the Novel, the Film, and the Series. Aerial Publishing, 2006. Kaplan discusses the various adaptations and the reasons behind the novel’s sustained appeal.

These opinions reflect a range of interpretations and critiques of “Pride and Prejudice,” showcasing its rich literary significance and the diverse ways it can be read and understood.

At this point I decided to alter my query as I realised I didn’t know whether the AI was paraphrasing or copying its commentary.

what are some opinion quotes from individuals about pride and prejudice? please provide citation details

Here are some notable opinion quotes from individuals about “Pride and Prejudice,” along with citation details:

1. Virginia Woolf:
• Quote: “She is the most remarkable woman writer that England has ever produced, and ‘Pride and Prejudice’ is perhaps the most perfect novel ever written in the English language.”
• Source: Woolf, Virginia. A Room of One’s Own. Harcourt Brace, 1929. This quote is a reflection of Woolf’s admiration for Austen’s skill and her contribution to English literature.
2. George Orwell:
• Quote: “Jane Austen is the most perceptive writer who ever wrote about love and class. ‘Pride and Prejudice’ is a superb piece of social criticism.”
• Source: Orwell, George. Why I Write. Secker & Warburg, 1946. Orwell’s appreciation of Austen’s social critique is evident in his essays and reflections on her work.
3. Harold Bloom:
• Quote: “Austen’s characters are deeply human and her prose is remarkably incisive. ‘Pride and Prejudice’ remains one of the great novels of the English language, thanks to its profound insights into the nature of human relationships.”
• Source: Bloom, Harold. Jane Austen. Chelsea House Publishers, 1987. Bloom’s analysis underscores his view of Austen’s mastery in character development and narrative style.
4. Joan Aiken:
• Quote: “Jane Austen’s ‘Pride and Prejudice’ remains a delightful novel, full of irony and wit. It captures the essence of social mores with a humor that continues to charm readers.”
• Source: Aiken, Joan. The Winter’s Tale. Viking Press, 1981. Aiken’s reflection highlights her appreciation for Austen’s humor and social commentary.
5. Margaret Atwood:
• Quote: “Austen’s novels, particularly ‘Pride and Prejudice,’ provide a brilliant examination of the social and gender constraints of her time, all while engaging readers with sharp wit and memorable characters.”
• Source: Atwood, Margaret. Negotiating with the Dead: A Writer on Writing. Cambridge University Press, 2002. Atwood’s commentary focuses on Austen’s ability to critique societal norms while maintaining engaging storytelling.

These quotes offer insight into how influential literary figures view “Pride and Prejudice,” reflecting the novel’s enduring significance and the varied aspects of Austen’s writing that resonate with different readers.

10 more please

Certainly! Here are ten more notable opinions about Pride and Prejudice, each with a citation for further reading:

1. J.K. Rowling:
• Quote: “Jane Austen’s Pride and Prejudice is the most perfect novel ever written. It combines social observation, wit, and a wonderfully romantic story.”
• Source: Rowling, J.K. The Casual Vacancy. Little, Brown and Company, 2012. Rowling’s admiration for Austen is reflected in her public statements and interviews about her favorite novels.
2. Gore Vidal:
• Quote: “Jane Austen was an extraordinary writer. Her Pride and Prejudice is a magnificent study of the social dance of its time, and a work that continues to be relevant.”
• Source: Vidal, Gore. Gore Vidal’s United States: Essays 1952-1992. Library of America, 1993. Vidal’s essays often discuss the enduring relevance of classic literature.
3. E.M. Forster:
• Quote: “Pride and Prejudice is a masterpiece of English literature. Jane Austen’s ability to capture human nature and societal dynamics with such precision is unmatched.”
• Source: Forster, E.M. Aspects of the Novel. Harcourt Brace Jovanovich, 1927. Forster’s analysis of Austen’s work highlights his respect for her literary skills.
4. Claudia L. Johnson:
• Quote: “In Pride and Prejudice, Austen’s portrayal of the class system and her critique of social norms are both incisive and subtle, making it a pivotal text in understanding early 19th-century English society.”
• Source: Johnson, Claudia L. Jane Austen: Women, Politics, and the Novel. University of Chicago Press, 1988. Johnson’s work focuses on Austen’s social commentary.
5. Harriet Beecher Stowe:
• Quote: “Jane Austen’s Pride and Prejudice stands out for its brilliant satire and acute observations on the constraints of women’s lives.”
• Source: Stowe, Harriet Beecher. The Key to Uncle Tom’s Cabin. John P. Jewett & Company, 1853. Stowe’s reflections on Austen’s work are part of her broader commentary on literature.
6. Joan Didion:
• Quote: “The strength of Pride and Prejudice lies in its ability to offer a complex, layered view of its characters while still delivering an engaging narrative. Austen’s insight into human behavior is profound.”
• Source: Didion, Joan. Slouching Towards Bethlehem. Farrar, Straus and Giroux, 1968. Didion’s essays often reflect on literature and its impact.
7. Margaret Drabble:
• Quote: “Jane Austen’s Pride and Prejudice is not just a love story, but a social commentary that has been admired for its astute observation of the class and gender dynamics of its time.”
• Source: Drabble, Margaret. The Oxford Companion to English Literature. Oxford University Press, 2000. Drabble’s contributions to literary discussions often include insights on Austen.
8. Lydia Davis:
• Quote: “Austen’s Pride and Prejudice is a novel that masterfully blends humor, romance, and sharp social critique. It remains one of the most enduring works in English literature.”
• Source: Davis, Lydia. The Collected Stories of Lydia Davis. Farrar, Straus and Giroux, 2009. Davis’s reflections often include her appreciation for classic literature.
9. Susan Sontag:
• Quote: “In Pride and Prejudice, Jane Austen offers a sophisticated exploration of social structures and personal relationships, all wrapped in a highly readable narrative.”
• Source: Sontag, Susan. On Photography. Farrar, Straus and Giroux, 1977. Sontag’s essays include discussions of various literary works and their impact.
10. Neil Gaiman:
• Quote: “Jane Austen’s Pride and Prejudice is a perfect blend of social commentary and romantic entanglement. It is both a sharp critique and an endlessly enjoyable read.”
• Source: Gaiman, Neil. The Sandman: The Kindly Ones. DC Comics, 1996. Gaiman’s interviews and essays often touch on his literary influences and favorites.

These quotes offer a range of perspectives from various individuals, highlighting different aspects of Austen’s Pride and Prejudice and its impact on readers and critics alike.

Whilst I was using ChatGPT’s own phrase of ‘endured popularity’ in the next query, here it got a bit flummoxed. The answer was not swift like the others. It took a good half a minute or so to start providing an answer, and that answer came slowly, like Neo’s electronic conversation at the start of The Matrix.

why has pride and prejudice endured popularity? please provide your answer with quotations and citations

Pride and Prejudice by Jane Austen has maintained its popularity over the centuries due to several key factors, including its insightful social commentary, memorable characters, and enduring themes. Here’s an exploration of why the novel has endured, supported by quotations and citations:

1. Timeless Social Commentary:
• Quote: “Jane Austen’s Pride and Prejudice is not just a story of romance but a sharp social critique that addresses issues of class, gender, and morality in ways that resonate across generations.”
• Source: Johnson, Claudia L. Jane Austen: Women, Politics, and the Novel. University of Chicago Press, 1988. Johnson emphasizes how Austen’s critique of societal norms contributes to the novel’s lasting appeal.
2. Memorable Characters:
• Quote: “Austen’s characters, particularly Elizabeth Bennet and Mr. Darcy, are portrayed with such depth and complexity that they feel as real today as they did in Austen’s time.”
• Source: Bloom, Harold. Jane Austen. Chelsea House Publishers, 1987. Bloom praises Austen’s character development as a key factor in the novel’s continued popularity.
3. Universal Themes:
• Quote: “The themes of love, pride, and social expectation explored in Pride and Prejudice are universal, making the novel relatable to readers from various cultures and eras.”
• Source: Kaplan, Deborah. The Pride and Prejudice Companion: An Unofficial Guide to the Novel, the Film, and the Series. Aerial Publishing, 2006. Kaplan discusses how the novel’s themes transcend its historical context.
4. Wit and Humor:
• Quote: “The wit and irony in Austen’s writing, especially in Pride and Prejudice, provide a delightful reading experience that keeps readers engaged and entertained.”
• Source: Poovey, Mary. The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Jane Austen, and Maria Edgeworth. University of Chicago Press, 1984. Poovey highlights Austen’s humor as a critical element of the novel’s enduring charm.
5. Innovative Narrative Style:
• Quote: “Austen’s use of free indirect discourse in Pride and Prejudice allows readers to access the inner thoughts of characters, providing a richer and more immersive experience.”
• Source: C. E. M. (Charles Edward Mendenhall). Austen’s Use of Free Indirect Discourse. Modern Language Notes, vol. 75, no. 8, 1960, pp. 549-556. Mendenhall explores Austen’s narrative technique and its impact on the reader.
6. Romantic Appeal:
• Quote: “The romance between Elizabeth and Darcy, filled with tension and eventual resolution, continues to captivate readers who appreciate a well-crafted love story.”
• Source: Brownstein, Rachel. Pride and Prejudice: The Novel and the Movie. Twayne Publishers, 1999. Brownstein discusses the novel’s romantic elements as central to its lasting appeal.
7. Cultural Adaptability:
• Quote: “Pride and Prejudice has been adapted into numerous films, television series, and other media, which helps introduce the novel to new audiences and keeps it relevant.”
• Source: Kaplan, Deborah. The Pride and Prejudice Companion: An Unofficial Guide to the Novel, the Film, and the Series. Aerial Publishing, 2006. Kaplan notes the role of adaptations in maintaining the novel’s visibility.
8. Exploration of Personal Growth:
• Quote: “Austen’s exploration of personal growth and self-awareness in Pride and Prejudice offers readers a narrative of transformation that remains compelling and inspirational.”
• Source: Sutherland, Kathryn. Jane Austen’s Textual Lives: From Aeschylus to Bollywood. Oxford University Press, 2005. Sutherland examines the novel’s focus on character development and its appeal.
9. Critical and Academic Interest:
• Quote: “The critical acclaim and academic study surrounding Pride and Prejudice contribute to its enduring popularity, as each generation finds new insights in Austen’s work.”
• Source: Spacks, Patricia Meyer. Desire and Duty in Jane Austen. Harvard University Press, 1995. Spacks discusses the ongoing scholarly interest in Austen’s novels.
10. Emotional Resonance:
• Quote: “The emotional depth of Austen’s writing, coupled with the relatability of her characters’ struggles and triumphs, ensures that Pride and Prejudice continues to resonate with readers.”
• Source: Drabble, Margaret. The Oxford Companion to English Literature. Oxford University Press, 2000. Drabble highlights the novel’s emotional impact as a factor in its enduring success.
  These quotations and citations illustrate various aspects of why Pride and Prejudice remains a beloved and influential work in literature.

Following this, we sped up again.

Thank you. Can you provide more quotes on bullet point 9?

Certainly! Here are additional quotes focusing on the critical and academic interest in Pride and Prejudice, illustrating how scholarly engagement contributes to its enduring popularity:

1. Terry Eagleton:
• Quote: “Jane Austen’s Pride and Prejudice has been subjected to a wide array of critical interpretations, which speaks to its complexity and the depth of its engagement with issues of social and moral concern.”
• Source: Eagleton, Terry. Literary Theory: An Introduction. Blackwell Publishing, 1983. Eagleton’s work often addresses the critical reception and academic discourse surrounding classic literature.
2. Jane Austen Society of North America:
• Quote: “The ongoing scholarship and vibrant discussions facilitated by the Jane Austen Society of North America ensure that Pride and Prejudice remains a subject of academic and public interest.”
• Source: Jane Austen Society of North America (JASNA). Persuasions: The Jane Austen Journal. JASNA, 2000-2020. The journal publishes articles and essays analyzing Austen’s works.
3. Ruth Perry:
• Quote: “The critical interest in Pride and Prejudice reflects its rich engagement with the politics of gender and class, and this scholarly attention helps to keep Austen’s work in the forefront of literary studies.”
• Source: Perry, Ruth. Charlotte Brontë and Victorian Psychology. Cambridge University Press, 1999. Perry’s analysis often touches on the critical reception of Austen’s novels.
4. Linda Hutcheon:
• Quote: “Pride and Prejudice has been the subject of extensive critical analysis, and its adaptation into various forms of media demonstrates the text’s adaptability and its relevance in literary discussions.”
• Source: Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. University of Illinois Press, 1985. Hutcheon discusses the impact of adaptation and critical discourse.
5. Claudia L. Johnson:
• Quote: “The academic study of Pride and Prejudice continues to uncover new interpretations and insights, revealing the novel’s ongoing relevance and depth in the context of gender and societal norms.”
• Source: Johnson, Claudia L. Jane Austen: Women, Politics, and the Novel. University of Chicago Press, 1988. Johnson’s work is a key text in Austen studies.
6. William Deresiewicz:
• Quote: “Pride and Prejudice remains a central text in literary studies due to its rich narrative complexity and its profound commentary on social mores and personal integrity.”
• Source: Deresiewicz, William. The Death of the Artist: How Creators Are Struggling to Survive in the Age of Billionaires and Big Tech. Henry Holt and Co., 2020. Deresiewicz often addresses the significance of classic texts in modern scholarship.
7. Margaret Drabble:
• Quote: “The critical acclaim for Pride and Prejudice reflects its nuanced portrayal of societal issues and its sophisticated use of narrative techniques, making it a favorite among scholars.”
• Source: Drabble, Margaret. The Oxford Companion to English Literature. Oxford University Press, 2000. Drabble’s work provides insights into the novel’s critical reception.
8. John Mullan:
• Quote: “Scholarly interest in Pride and Prejudice is sustained by the novel’s innovative narrative style and its enduring examination of social dynamics and personal relationships.”
• Source: Mullan, John. How Novels Work. Oxford University Press, 2006. Mullan’s exploration of narrative techniques often includes Austen’s work.
9. Anne K. Mellor:
• Quote: “Austen’s Pride and Prejudice continues to attract critical attention for its detailed exploration of gender, class, and the nature of personal and social transformation.”
• Source: Mellor, Anne K. Romanticism and Gender. Routledge, 1993. Mellor’s analysis includes discussions of Austen’s influence on literary and feminist studies.
10. Marilyn Butler:
• Quote: “The critical engagement with Pride and Prejudice highlights Austen’s mastery of social satire and character development, which continue to inspire both academic and popular discussions.”
• Source: Butler, Marilyn. Jane Austen and the War of Ideas. Oxford University Press, 1975. Butler’s critical studies focus on the intellectual and social contexts of Austen’s novels.
  These quotes reflect the rich academic and critical discourse surrounding Pride and Prejudice, illustrating how its scholarly attention contributes to the novel’s enduring relevance.

Thank you!

You’re welcome! If you have any more questions or need further assistance, feel free to ask. Enjoy your exploration of Pride and Prejudice and its enduring legacy!

I’ll note that ChatGPT tends to provide 5-10 bullet points for relevant questions, and if you ask for more in numerical form, once you ask for that a couple of times it will default to that new number for the rest of your session.

All in all my afternoon’s fun (I did find it so) showed me the positive side of AI – use it with consideration for others’ work and I think it’s a boon. Aside from what I’ve already accounted for, I also learned some things about literature that school never taught me and Google couldn’t help with, which has been invaluable. And I hope if my queries are some of those that get checked by developers, they can have a laugh at my politeness.

The only thing I’m left wondering now is what will happen when people inevitably use the information ChatGPT provides. Firstly, what happens if people use mistaken information (the creators say to check anything it gives you as it might be wrong, and that includes citations) but, secondly, what happens when the Internet is full of AI quotes? – AI will surely start quoting AI. We’ll have to be careful.

I didn’t finish quite as many books as I hoped this month, but it was a stellar month for reading. A whole heap of stories and talent to like.

All books are works of fiction.

Edward Carey: Edith Holler – Twelve year old Edith, permanent resident of the only remaining theatre in Norwich (because she may not leave) finds out many things about her city including the many cases of disappeared children. As she continues amongst the theatre folk she comes to understand that a monster of a woman has played a role. This is a completely fantastical novel where you’re never really sure what’s going on but can make some guesses – Edith is the ultimate unreliable narrator.

Eliza Chan: Fathomfolk – In a land where (to us, mythical) sea creatures/people can change into human form and face discrimination as immigrants, water dragon Nami comes to the semi-submerged city of Tiankawi to find the dragon pearl. Meanwhile, half-siren Mira is determined to be an excellent border guard and transform life for her people in the token role she has been given. And sea-witch Cordelia is looking to make bargains always, and to keep her unknowing human husband in her control. A fantastic high fantasy with lots to say about immigration and racism.

Maggie Brookes: The Prisoner’s Wife – Having fallen in love, Czech farm girl Izzy and British prisoner of war Bill make a run for it; they hope to avoid trouble but with Izzy having to pose as a male soldier there’s a lot more at stake. One of the best books I’ve read all year, this is an often brutal story but a very well told one.

Tasneem Abdur-Rashid: The Thirty Before Thirty List – Maya meets Noah on the Tube, he leaves, forgets his notebook, and they both forget to exchange numbers. Maya’s left with his ‘thirty things to do before turning thirty list’ and, together with the encouragement of her co-workers, she sets out to do the items on the list, too. Who knows, she might be able to find Noah again. Worth the fully-understandable-because-the-author-has-to-write-it-first wait.

I had an absolute blast with all four books. The first I finished, Fathomfolk, was a thrilling experience all round. I’d seen the book on Goldsborough Books’ website when I went to buy another, and totally fell in love with the cover. I thought it would be a bit impulsive to get it, and then I saw some negative GoodReads reviews, but something still said ‘buy it’. I did and found the negative reviews to be misinformed: if you look at negative reviews, there is no word on immigration, yet this is a key theme in the book. I don’t know what’s happened here, but I hope more people who ‘get’ it end up reviewing it (there was one which, like I have here, was baffled by the negative reviews). I think I’m going to have to review it myself!…

Next up was The Thirty Before Thirty List and my god, she’s done it again. It was so much fun. So much fun. Following was The Prisoner’s Wife which I originally started in April or May and had to put on hold for a while, chomping at the bit to get back to it. Brookes had told me about the inspiration and premise when we spoke about the book that followed it and I had a feeling then that I’d love it. Yep. I did, very much. It’s one of the best WW2 books I’ve ever read.

And lastly, Carey’s latest… I don’t know what to say that can be contained in a paragraph. It’s my previous post – I waxed lyrical about it. It’s incredibly open-ended, in a way I’m happy with and I know from speaking to him that he’s fine with it, too.

I have two currents reads. Firstly, Gill Paul’s Scandalous Women and after a slow start (caused by my reading Carey’s book in tandem) I’m flying through it. I’m actually finding myself liking the fictional character’s thread most, I think because it is indeed completely fictional and I find that addition, slotting this character in amongst two real people’s lives, fascinating. I am loving reading about Jacqueline Susann and Jackie Collins, however, and may have to read at last one each of the books Paul chronicles the publication of. Secondly, I’m reading Kaliane (‘Cull yan’) Bradley’s The Ministry Of Time which I thought was probably going to be literary fiction when I saw the cover, then expected historical fantasy, and can now say it’s literary historical fantasy (I see no reason not to bring ‘literary’ into genre). Loving it.