The other day I was looking through my site statistics as I sometimes do, and noted a plethora of searches to do with the aforementioned book. They were specifically to do with Alice’s age. I won’t list them because if Google happens to see value in this post it might start sending the searchers here and my writing today isn’t about answering the question (though I will answer the question later because I’ll need to).

Instead I want to explore that plethora itself. You’ll often see similar search phrases that result in the one answer; everyone words things differently. It was the sheer number of differences that struck me, the differences suggesting that the motives behind the questioned differed too. I wondered why people were asking. (There was also a bit of ‘why now?’ in there – I wrote about the reading age for the book almost a year ago and it’s only recently that numbers have swelled.)

Alice’s age is provided by Carroll in the sequel, Through The Looking-Glass – seven years old. Whilst not given in the first book, we can assume she was six or seven then because the first takes place a few months before the second, May and November respectively. So we’ve an easy answer to the question of why people are asking – the age isn’t provided in the first book and it’s safe to assume that a good number of people don’t get to the second. The question also means that it’s more likely people haven’t read either book and are perhaps looking to ascertain how appropriate it would be for their own child to read. It tends¹ to be the case, after all, that in children’s literature, the character’s ages match the intended audience. One of the phrases in my stats was specifically requesting an Alice book ‘for kids’ – clearly this person (a parent?) had misgivings about the story, and I don’t blame them – after reading it myself a few years ago I decided not to buy a copy for my nephew until he was a little older than Alice herself.

(I’ll note here that there were a few searches in the same vein as our main question for Through The Looking-Glass. This could be a different, shorter, post but I think it’s best summed up as wanting to make sure the story doesn’t move too far ahead from the first as to mean that a child – likely deemed old enough for Alice by whatever metric – would have to mature in order to continue. It’s safe to assume that Carroll was looking for or was asked to provide more of the same, hence the short time frame between them.)

This leads us neatly onto the topic of context – are people asking in order to understand the Victorian context of this 1865 book? In my post about the target audience for the book, I wrote about the way the book was clearly written for children but how cultural change means that in our modern world it’s pretty violent and a bit too strange. Certainly Alice is a mix of very mature and not so, which reflects both her age and environment and suits her character’s role in the didactic book. It is interesting to look at the novel in the context of its time, to compare it to others – few have stood the passing of the centuries like Carroll’s – and see where morals and values as well as views about childhood come into play.

In this way I wonder if the secondary meaning behind asking about Alice’s age is relevant here – how old is the book that bears her name?

And on that note, therefore, somewhat, what is the reading level of the book? Does the appropriate age group of a modern child match the target reading level? When I gave it to my nephew, via grandma, I said it might be best read together; he’s a good reader but he necessarily lacks a Victorian child’s mindset. One searcher wanted to know if the book could be read by five-year-olds.

Lastly, looking at different interpretations of phrases, I think it’s possible some searchers are looking to study the content’s appropriateness in terms of Alice’s age, maybe also in terms of her social context. How appropriate is it for a child of seven to be dreaming of heads being cut off and what would her environment have been like? The law was different back then, and as we know from the information available about the progression of early children’s literature, childhood had until recently been viewed very differently to the way we view it now; the idea of childhood began in the 1600s.

I don’t think there are any conclusions to be made here; this post must remain exploratory. But certainly, wondering about the background behind these searches was interesting in a way wondering the same about other searches was not – I gave pondering other search subjects a try in order to ascertain the worth of this post.

When did you last ask ‘why’ of something in literature and what did you discover?

Footnotes

¹ I say tends because we very much have to exclude Lyra and Will. On that note it’s interesting that the sales information for The Secret Commonwealth notes that it is for adults. Despite Lyra’s older age, it’s naturally going to be mistaken sometimes for a children’s book.

Allow me a little extraneous backstory. I am constantly going back to The Guernsey Literary And Potato Peel Pie Society; I’ve read it twice since buying it around 2015, and have re-read sections about four times since then. Most recently the reason was the film; it had highlighted to me things I’d not really thought, the cultural aspects of Juliet’s period – clothes, for example. For some reason I’d always pictured her in 1990s gear, so caught up was I in the story of the war. I also think much of my overlooking of things was due to the fact of letters rather than regular prose, description of a certain kind. (Incidently, I enjoyed the film, and thought it handled the source material, the limits imposed by letters, very well.) It’s apt that I was always seeing the book, its cover, everywhere, because this is what led me to buy it – it had seemingly followed me around, taunting me to read it, and since I gave in it’s continued to follow me, if now at my bidding.

It was during one of those later dips into the book that I realised the meta concept – author Mary Ann Shaffers’ book is fictional writer Juliet’s book.

Juliet needs to write an article to ‘address the practical, moral, and philosophical value of reading… I am to cover the philosophical side of the debate’ (p. 28). Over the course of the novel we see Juliet finding material for this article (which ends up becoming a book) and in so creating this narrative for Juliet, Shaffers in turn writes the same book. Guernsey is a book in a book.

Of course this idea contains a fair amount of conjecture on my part; if there’s something I’ve learned over the time spent planning this post it’s that we unlikely to find more background to the writing of the novel than we have. Shaffers’ death before its completion – happily, she knew it was to be published, after having handed it to her niece to finish (if I recall correctly, Barrows’ input was mostly in the editing of it¹) – means that what we already know, partly from Barrows, will likely be it. We have a brief background, that’s included at the front of the book – at least in the UK edition; it was a trip to Guernsey that American Shaffers made, as well as persuasion from her book club to write, that got her started. Given the content of the book, the fictional literary society (which we can give the catch-all term of ‘book club’ to), together with the ‘value of reading’, as quoted in the previous paragraph, it’s fair to say that Shaffers mixed her day-to-day reality with her experience of Guernsey² – we can see why she wrote what she did, the further content than the occupation. Juliet needed to write an article, needed something to continue the success she found in being a best-selling novelist. Shaffers needed a book, needed to write something after her peers told her she should. It’s pretty similar.

So then, in effect, Shaffers is the writer ‘part’ of Juliet. Shaffers uses Juliet’s experiences to look at the affect reading can have on people, to look at the way it can be used, both conventionally and unconventionally – if we consider its role as a loophole for which the residents of Guernsey could get around the banning of meeting in groups – and the way it brings people together in various ways. Most obvious is the use of the literary society with its colourful cast of characters; there is also the beginnings of Juliet’s trip – the love of Charles Lamb uniting two people, as well as the fact of the secondhand book trade in itself. There’s the use of what we can call marginalia for its effect – the name of a reader written into a book, which forms a connection as the book passes hands. (Here Shaffers brings in the musings of a reader who finds evidence of a previous owner, connecting the two readers in her fictional reality.) Reading brings Juliet and Dawsy together, it brings residents of an occupied island together, and its final result is that it brings the history of Guernsey to a wide readership, both the off-stage readers Juliet is looking to reach and the real-world readers of Shaffers’ novel. All those values of reading that Juliet lists, Shaffers satisfies in her work. And as to the practical, educational side, well, that’s what the literary discussions are for.

On page 34, Amelia Maugery notes that Juliet’s bestseller (Izzy Bickerstaff Goes To War³) had provided her with an update on what those in Guernsey didn’t know about the war elsewhere. Juliet’s response, page 35, includes, ‘…the Spectator felt a light approach to the bad news would serve as an antidote and that humour would help to raise London’s low morale. I am very glad Izzy served that purpose, but the need to be humorous against the odds is – thank goodness – over. I would never make fun of anyone who loved reading.’ This somewhat coincides with Shaffers’ book – a happy tone where appropriate – and as much as she provides the bad, it is in effect an antidote to it, showing the humanity in an otherwise inhumane situation. (It’s interesting to compare the book with Caroline Lea’s more recent When The Sky Fell Apart – a book about occupied Jersey that uses a different method to tell a similar tale (the occupation of the Channel Islands). Happiness in the face of occupation, friendship and society doing what they can.

I’ve wanted to explore this topic without too much contemplation of facts because I found a lot more there for the taking than there was when just looking for the book’s backstory. There is so much of the idea and reasons for literature in itself in this book and the crafting of it that we’re not going to hear about directly from the authors. However there is this, at the end of Shaffers’ part of the acknowledgements that needs to be looked at:

If nothing else, I hope these characters and their story shed some light on the sufferings and strength of the people of the Channel Islands during the German Occupation. I hope, too, that my book will illuminate my belief that love of art – be it poetry, storytelling, painting, sculpture, or music – enables people to transcend any barrier man has yet devised.

It surely does.

Footnotes

¹ From the acknowledgements of the book (Bloomsbury edition): “…Annie, who stepped in to finish this book after unexpected health issues interrupted my ability to work shortly after the manuscript was sold.” Barrows took it on once it had been passed to an editor. Wikipedia (n.d.) notes, ‘After the manuscript had been accepted for publication (2006), the book’s editor requested some changes that would require substantial rewriting’, however there is no citation for this.
² From the acknowledgements: “I had travelled to England to research another book and while there learned of the German Occupation of the Channel Islands. On a whim, I flew to Guernsey and was fascinated by my brief glimpse of the island’s history and beauty. From that visit came this book, albeit many years later.” Shaffers also notes her daughters insisting she sit down and type, to get the book written.
³ Issac Bickerstaff was the pseudonym Jonathan Swift used as part of a hoax to predict someone’s death.

References

Shaffers, Mary Ann and Barrows, Annie (2008) The Guernsey Literary And Potato Peel Pie Society, Bloomsbury, London.
Wikipedia (n.d.) The Guernsey Literary And Potato Peel Pie Society, accessed 16th May 2019.

The result of a couple of weeks’ worth of work in total, this post is over 4000 words. I have thus formatted it as a research article and for convenience linked to the various sections.

Table Of Contents

Preface
Abbreviations
Introduction
Working Together
Plain Jane
The Other Sisters
Conclusion
Footnotes
Appendix A: Contemporary Reception of Life
Appendix B: Anne’s Own Influences – Agnes’ Horrific First Placement
References

Preface

In planning and writing this piece I chose for the most part to stick to primary and early secondary sources; this naturally afforded the opportunity to study the work of those closest to Charlotte (both in terms of relationships and era) without too many tertiary sources, and made research a lot easier in terms of access. I often made use of the Project Gutenberg versions of texts; where page numbers were not included I referred to digital versions of the originals. Contemporary sources, both first-hand accounts and literary criticism, are vast, and Charlotte’s own comments on her writing abundant; I decided to limit my research to Charlotte and her sisters – when I had the thought to look at their brother, Branwell, I discovered sources that are not considered trustworthy (this is the opinion of a number of other contemporary sources)¹, and in terms of the family in general there is a great amount of information extending past the nuclear family that would have made this piece far too long. (William Wright’s 1893 book, The Brontë’s In Ireland, seems to have been well-regarded by his fellow enthusiasts.) This said, whilst I have focused on the sisters and Charlotte’s opinion of herself, I have allowed for slight wandering where I have discovered further interesting information as a result of my research.

Abbreviations

Life – The Life Of Charlotte Brontë by Elizabeth Gaskell
Cowan Bridge – Casterton Clergy Daughters’ School, in the village of Cowan Bridge (Charlotte often refers to it by the village’s name).

Introduction

“You think, because I always do as you bid me, I have no judgment of my own: but only try me – that is all I ask – and you shall see what I can do.” (2017, p.9)

This is from chapter one of Anne Brontë’s Agnes Grey. In chapter twenty-three of Jane Eyre, written after Anne’s book (though ultimately published before), older sister Charlotte included a line that is rather similar, and more well-known:

“Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong! – I have as much soul as you, – and full as much heart!” (2007a, pp.305-306)

The two lines are, in terms of phrasing and language, the same. They also share a similar context in terms of self-belief, and of course they are both uttered by characters who are known to be formed from the traits and values of their authors. But the wider contexts are entirely different. Agnes is responding to her family’s teasing that she is too young and dependent and so forth to go to work as a governess. She’s 18; the baby of the family. Jane is in the midst of a passionate argument with Rochester in regards to her belief that he’s about to marry marriage Blanche Ingram. She’s also rebuffing the way he treats her (Jane).

A comparison could be made in regards to the literary treatment, and questions asked about whether the two Brontë sisters felt a lack of self belief in themselves. Then there are the social, gender, contexts of the day to consider. But that’s not what I was thinking of when I found the two lines. Instead I wondered about the bigger picture of the sisters writing and how much they might have influenced each other, particularly, if it could be found, in this case of Agnes and Jane. (Gaskell reported that Charlotte’s character Shirley represented Emily².) Having struggled and failed to find a publisher for her first manuscript, The Professor, yet succeeding in getting both Anne’s and Emily’s novels accepted as a two volume publication, and knowing that Charlotte read both, how much would Anne and Emily have influenced Charlotte as she tried to write something ‘acceptable’? And, knowing that Jane is in many respects Charlotte herself, how does her line from above relate?

Working Together

The sisters retained the old habit, which was begun in their aunt’s life-time, of putting away their work at nine o’clock, and beginning their study, pacing up and down the sitting room. At this time, they talked over the stories they were engaged upon, and described their plots. Once or twice a week, each read to the others what she had written, and heard what they had to say about it. Charlotte told me, that the remarks made had seldom any effect in inducing her to alter her work… It was on one of these occasions that Charlotte determined to make her heroine plain, small, and unattractive, in defiance of the accepted canon. (Gaskell, 1857a, pp. 10-11)

In Life, Gaskell sets the scene, inferring that the sisters discussed their writing every evening. It’s interesting to note the words ascribed directly to Charlotte here: ‘remarks’, ‘seldom any effect’, and, particularly, ‘inducing’. It could be that Gaskell herself composed the sentence, and that would possibly be the opinion of others who knew Charlotte, given their reception of Life (see Appendix A), but if we consider the account to be verbatim, then those words are very similar in their approach and mood, and they are pointed. Why ‘remarks’ instead of the softer ‘comments’ or ‘thoughts’? ‘Seldom any effect’ – nowadays this phrasing might be taken as haughty, but if we exclude that idea and consider that that might not be the case here, we still have a phrase with two possible subtexts: firstly, that the ‘remarks’ truly didn’t have an effect, and secondly, that they did and Charlotte wished to say otherwise.

It’s the use of ‘inducing’ that rounds it all off – did Charlotte think her sister’s opinions unworthy or were they being quite forceful in their feedback? Was Charlotte perhaps covering up her positive reception of their feedback? Certainly she edited her sisters’ works³; would they not have been able to do likewise, if not publicly?

There is another, more specific, occasion recounted in Life, the original source cited only in vague terms that might therefore have been lost on us now if it hadn’t been specified by others. Another literary friend of Charlotte’s who, given Gaskell’s description of their article, “a beautiful obituary”, and, helpfully, “most likely learnt from herself [Charlotte] what is there stated” (Gaskell, 1857a, p. 11) was Harriet Martineau, who says the following:

…She [Charlotte] once told her sisters that they were wrong – even morally wrong – in making their heroines beautiful as a matter of course. They replied that it was impossible to make a heroine interesting on any other terms. Her answer was: “I will prove to you that you are wrong; I will show you a heroine as plain and small as myself, who still shall be as interesting as any of yours.” “Hence ‘Jane Eyre,'” said she in telling the anecdote: ‘but she is not myself, any further than that.’ (Martineau, 1869, p.48)⁴

Not only does this provide insight into the sisters’ working method, it also provides added context for Gaskell’s anecdote.

Plain Jane

In her 1886 book, Hattie Tyng Griswold seemingly expands on the information in Martinteau’s account:

She was extremely sensitive about her personal appearance, considering herself irredeemably ugly, and always thinking that people must be disgusted with her looks. She purposefully made her heroine in “Jane Eyre” unattractive, as she felt it an injustice that a woman must always be judged by her looks, and she felt that novelists were somewhat to blame in the matter, as they always made their heroines beautiful in person, however unattractive in mind or character (p. 296).

We know Charlotte felt negatively about her looks. On 24th March, 1847, Charlotte wrote to Ellen Nussey⁵ and said:

I’ll take care not to tell you next time, when I think I am looking specially old and ugly; as if people could not have that privilege, without being supposed to be at the last gasp! I shall be thirty-one next birthday. My youth is gone like a dream; and very little use have I ever made of it.” (cited in Gaskell, 1857a, pp. 18-19)

She also spoke openly to Gaskell about her looks, to which Gaskell adds for the reader her own commentary, ending with a refutation of the opinion:

Much of this nervous dread of encountering strangers I ascribed to the idea of her personal ugliness, which had been strongly impressed upon her imagination early in life, and which she exaggerated to herself in a remarkable manner. “I notice,” said she, “that after a stranger has once looked at my face, he is careful not to let his eyes wander to that part of the room again!” A more untrue idea never entered into any one’s head. (1857a, p. 290)

Of particular interest here, in regards to the use of a ‘plain’ character, is the note that Charlotte’s thoughts had been provided to her – how, we may not know, but in Gaskell’s words is the suggestion that third parties had vocalised their opinions. Perhaps this was why Charlotte was outspoken about her feelings – she was simply repeating (and, sadly, had taken to heart) what others had told her. (Whilst there’s a chance that it was Charlotte who had made the impression herself, Gaskell’s wording makes this unlikely.)

When we add this to Griswold’s extra commentary, and regard both in the light of that statement from Jane to Rochester, we can see someone who had an idea of herself that she was perhaps used to, but nevertheless railed against. And this in itself provides background for Griswold’s statement about injustice – Jane may be plain but that doesn’t mean she is soulless and heartless.

Lastly on this note is this statement by contemporary author Margaret Oliphant, who reviewed Jane Eyre. Oliphant’s words join Gaskell’s ‘more untrue idea’ and put Jane where Charlotte perhaps wanted her to be, a place vastly different to the one other reviewers had set her:

I am not sure, indeed, that anybody believed Miss Brontë when she said her heroine was plain. It is very clear from the story that Jane was never unnoticed, never failed to please, except among the women, whom it is the instinctive art of the novelist to rouse in arms against the central figure, thus demonstrating the jealousy, spite, and rancour native to their minds in respect to the women who please men (1897, p, 18).

It would be fair to say that Charlotte’s construction of a plain heroine, to show her sisters how interesting one such character could be, succeeded. Oliphant’s positive opinion was but one of many; Charlotte could count Thackeray among her readers, and many reviewers loved it. As we know, it quickly became a sensation and went swiftly to a second edition.

The Other Sisters

If we’re to look at Charlotte’s sisters, we must not forget the eldest. There were originally five Brontë sisters; Maria and Elizabeth died young as a result of illness caught at school. The details were summed up in the third volume of Chambers Cyclopaedia of English Literature, published in 1903, in the section about Charlotte:

The two eldest daughters were sent, in July 1824, to a school for clergymen’s daughters at Cowan Bridge near Kirby-Lonsdale, and Charlotte and Emily followed in September. A low fever broke out in the school, and Maria and Elizabeth became seriously ill, and were taken home to die. Though Charlotte was but eight years old, the habit of observation had set in, and she attributed the death of her sisters to their cruel treatment in the school, an injury avenged in the opening scenes of Jane Eyre (p. 520).

The ‘low fever’ was likely tuberculosis – the disease came in the aftermath of a typhoid outbreak at the school (Wikipedia, n.d. b)⁶.

Like the other descriptions of the Brontës in this era, we can assume Chambers took as its source Life and/or derivative works made from it. Gaskell herself says in particular that Helen Burns is a transcript of Maria, and that those who had been pupils alongside Charlotte recognised in Charlotte “an unconsciously avenging sister of the sufferer” (Gaskell, 1857b, p.73). Following this, Gaskell provides an account from one of those pupils of a day during Maria’s illness when the woman in charge – Gaskell calls her by the name given to her in Jane Eyre, Miss Scatcherd – got angry about Maria not getting out of bed, and ‘abusing her all the time for dirty and untidy habits’ (ibid., pp. 73-74). This information forms part of a vast amount of content provided by Gaskell about Cowan Bridge, comprised of both objective facts and Charlotte’s feelings about her time there.

Helen Burns’ situation is of course dire, a painful disease followed by death that affects Jane a lot. The story is very much the conclusion of an awful time at an awful school, echoing Charlotte’s time and experience, which was perhaps made worse by Charlotte’s young age, the way experiences can be heightened then. Gaskell says, as one of many paragraphs about Cowan Bridge:

Miss Brontë more than once said to me, that she should not have written what she did of Lowood in “Jane Eyre,” if she had thought the place would have been so immediately identified with Cowan Bridge, although there was not a word in her account of the institution but what was true at the time when she knew it; she also said that she had not considered it necessary, in a work of fiction, to state every particular with the impartiality that might be required in a court of justice, nor to seek out motives, and make allowances for human failings, as she might have done, if dispassionately analysing the conduct of those who had the superintendence of the institution. I believe she herself would have been glad of an opportunity to correct the over-strong impression which was made upon the public mind by her vivid picture, though even she, suffering her whole life long, both in heart and body, from the consequences of what happened there, might have been apt, to the last, to take her deep belief in facts for the facts themselves – her conception of truth for the absolute truth (ibid., pp. 64-65).

For a more modern explanation of the deaths of Maria and Elizabeth we can turn to Margaret Smith, recent editor of Charlotte’s letters, who notes that the sisters ‘began or grew worse’ at Cowan Bridge (Smith, in Bronte, 2007b, p.87n). If the latter – ‘worse’ – then it’s perhaps more reasonable that those at Cowan Bridge might be angry – Helen’s fate sets in stone the earlier experiences of Lowood. But to her publishers, of the scenes at Lowood, Charlotte said:

Perhaps too the first part of ‘Jane Eyre’ may suit the public taste better than you anticipate – for it is true and Truth has a severe charm of its own. Had I told all the truth, I might indeed have made it far more exquisitely painful – but I deemed it advisable to soften and retrench many particulars lest the narrative should rather displease than attract (ibid., p.86).

It is here that Charlotte accepts the suggestion to add ‘an autobiography’ to the title. A few months later, in a letter to the publishers’ literary adviser, William Smith Williams, Charlotte spoke about seeing ‘an elderly clergyman reading it the other day, and had the satisfaction of hearing him exclaim…’ (ibid. pp. 96-97) and she notes the man’s declarations of the school and the teachers, which in her transcription is devoid of specifics. (Charlotte makes use of the common literary device of the day wherein references to specific people and places are excluded, presumably, in this case, to lessen any more complaints should anyone else hear of the inclusion of the school, particularly as the words of the ‘elderly clergyman’ – whom Smith says may be Charlotte’s friend, a reverend who had sent his daughters to the school (ibid. p. 97n) – are strong and damning.)

Conclusion

It is clear that Charlotte’s sisters had a big influence on Jane Eyre. Where Emily and Anne were very well placed to provide advice and inspiration in real time, Maria and Elizabeth’s lives, in terms of Charlotte’s memories and the reflections of others, provided content that Charlotte used as the background to her character. Charlotte’s agreement to use ‘an autobiography’ on the title page, together with her openness about her inspiration – an openness that extends to a fair amount of the characters and themes in general – provides evidence; it also provides us a wonderful, detailed, look into Charlotte’s world, both in terms of her mental processes and how she lived. Through her letters and the accounts of those who knew her we can see the turmoil and battles she went through in order to do justice to the various aspects of her life and family, and the strength she kept hold of when negative reactions to her work rolled in. Jane Eyre is as much about her loyalty to her family and their struggles as it is about her time as a governess, gender, and the unrequited love she felt for her teacher, which she had unsuccessfully written about before and would reform in order to create her third publication.

Footnotes

¹ Chambers Cyclopaedia of English Literature (vol 3) offers a brief summary about Branwell and Patrick Brontë: ‘Doubtless the book was unusually outspoken. The obsession of Branwell’s conduct and conversation at the time she [Charlotte] wrote it goes further than anything else to account for this. There is also abundant testimony that her father and one or two men who visited her home talked before her, if not to her, with as little reticence as Rochester talked to Jane Eyre.’ (1903, p. 522). Whilst the accounts Chambers references seem to be legitimate, there is an account of a meeting with the family that also fits the description, but is possibly not reliable, in Francis Gundy’s book, Pictures Of The Past (an autobiographical work published in 1879).
² Charlotte had apparently told Gaskell that Shirley was Emily: ‘The character of Shirley herself, is Charlotte’s representation of Emily. I mention this, because all that I, a stranger, have been able to learn about her has not tended to give either me, or my readers, a pleasant impression of her. But we must remember how little we are acquainted with her, compared to that sister, who, out of her more intimate knowledge, says that she “was genuinely good, and truly great,” and who tried to depict her character in Shirley Keeldar, as what Emily Brontë would have been, had she been placed in health and prosperity.’ (1857a, p.116). But Ellen Nussey, who knew Emily as well as anyone outside the family, did not recognise Emily in Shirley (Wikipedia, n.d. c).
³ The second edition of Emily’s Wuthering Heights, published in 1850, was edited by Charlotte.
⁴ It is likely to have been the author and critic Clement Shorter who added the first written citation of this reference to Martineau; Shorter’s 1900 edition of Life notes Martineau’s article as having appeared in the Daily News (Shorter, 1900, p.324). The editor of the 1996 edition of Life, Angus Easson, cites the exact date: 6th April 1855 (Easson, 1996, p. 529). Martineau’s book, Biographical Sketches, came later, in 1869, and in it the introduction to Charlotte’s reported dialogue was altered. In addition, the article, seemingly in its original form, was reprinted in the Daily Alta California on 30th May 1855. (See the References section for a link: the Daily News article appears to not be online, so, whilst the American reprint is a little difficult to read, it offers a chance to view it.) Interestingly, this reprint cites the London Morning News, suggesting Martineau’s article had been widely syndicated.
⁵ Life does not say that the letter was to Ellen, however Shorter identifies it as such (1990, p.331). Nussey was Charlotte’s long-term close friend.
⁶ The Wikipedia article includes further information about the conditions at the school in regards to Charlotte’s own treatment.

Appendix A: Contemporary Reception of Life

Some years after Life was published, a letter from Charlotte’s father, Patrick, to Gaskell, was discovered. In it, he requests his recipient write about his daughter, saying: “You seem to me to be the best qualified for doing what I wish should be done. If, therefore, you will be so kind as to publish a long or short account of her life and works, just as you may deem expedient and proper, Mr. Nicholls and I will give you such information as you may require.” (Patrick Branwell to Elizabeth Gaskell, 16th June 1855, cited in Shorter, 1900, pp. xxiii-xxiv). However, the resulting text was not well-received. Shorter says later in his introduction, “Not only the public but the intimate relations and friends appeared to be satisfied” and includes letters from Patrick Brontë to the publisher and to Gaskell (Shorter, 1900, p. xxvii), however as the book became widely known, “Mrs. Gaskell found herself in a veritable ‘hornets’ nest’ – as she expressed it. She visited Italy the moment her task was completed, and during April and May of the year 1857 her publishers had to bear the brunt of a considerable number of lawyers’ letters.” (ibid., p.xxx) One of these letters was in regards to the lady Charlotte’s brother, Branwell, had likely had an affair with. Others were in regards to those who had been negatively described: ‘The published text does not go so far as to blame him [the school master] for the deaths of two Brontë sisters, but even so the Carus Wilson family published a rebuttal with the title “A refutation of the statements in ‘The life of Charlotte Bronte,’ regarding the Casterton Clergy Daughters’ School, when at Cowan Bridge”.’ (Wikipedia, n.d. a)

Appendix B: Anne’s Own Influences – Agnes’ Horrific First Placement

Gaskell and Charlotte spoke about the sisters’ writing far beyond methods, editing, and Charlotte’s thoughts as to heroines. In Life, Gaskell writes about a conversation she had with Charlotte in regards to Anne’s first book; this answers a question readers may have as to the reality of the scene in which Agnes swiftly destroys a nest of baby birds in order to prevent the slower, sadistic killing by her young charge:

I was once speaking to her [Charlotte] about “Agnes Grey” – the novel in which her sister Anne pretty literally describes her own experiences as a governess – and alluding more particularly to the account of the stoning of the little nestlings in the presence of the parent birds. She said that none but those who had been in the position of a governess could ever realise the dark side of “respectable” human nature… (Gaskell, 1857b, pp. 189-190)

Following this, Charlotte had recounted a story from her own life wherein a boy had thrown stones at her.

References

Books

Brontë, Anne (2017) Agnes Grey, Vintage Classics, London
Brontë, Charlotte (2007-a) Jane Eyre, Vintage Classics, London
Brontë, Charlotte (2007-b) Selected Letters, Oxford University Press, Oxford
Chambers Cyclopaedia of English Literature Vol 3 (3rd ed) (1903), W&R Chambers Ltd, Edinburgh
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I’ve noticed this question coming up a lot lately in my site statistics, and it strikes me in the same way as an alternate ending for Edna’s story; I’m going to address it.

In sum, it would be difficult to say that there could be an alternative ending without losing what Chopin is saying. If Désirée’s Baby ended positively, there wouldn’t be much of a story, just a small study about race; it wouldn’t have much of a place in literary studies today.

But, if we do muse on the idea that there could be an alternative ending, what do we suggest? First and foremost would be that Désirée and her baby would not die. For that to happen, Désirée must not be heartbroken and in despair.

For that to happen, Armand would need to have a different personality. He would have to not be against the idea of a mixed-race wife, or he would have to be aware of his heritage early on. (There is an article by Margaret D Bauer that suggests Armand knew about his heritage all along but it is not available online. The article’s called ‘Armand Aubigny, Still Passing after All These Years: The Narrative Voice and Historical Context Of “Désirée’s Baby”‘; it’s included in Critical Essays On Kate Chopin, edited by Alice Hall Petry. It also appears to be in Race And Culture In New Orleans Stories, edited by James Nagal.)

The thing is, if Armand was not against the idea of a mixed-race wife and subsequent child, he might not have been in a position to marry Désirée. If his relations with La Blanche are anything to go by, he might, in such a situation, have married another. This would completely change his character: it’s likely that in the story as it is, he’s sleeping with La Blanche because he can as her ‘owner’. The quadroon mentioned in the story, La Blanche’s child, is quite possibly his.

And if Armand knew about his heritage, again, his character might well be different.

There is another possibility for an alternate ending: Désirée could have left Armand and gone home. Perhaps others in her situation would have. Certainly Valmondé wanted her to return. If she did, Chopin’s point would still remain but it wouldn’t be nearly as strong as it is in the actual tale – Armand would still be ‘able’ to burn the affects and find the letter, but the story would be about racial issues leading solely to heartbreak instead of heartbreak with no way to return. In Chopin’s ending, Désirée’s choice is symbolic; she shows how awful racism is.

If you’ve read the story, what do you think about a different ending?

Photograph/screen shot from Outlander, copyright © 2014 Neil Davidson/Sony Pictures TV.

Following up the book with the TV show or film, with less than a day in between, tends to have drawbacks; the screen might not live up to the book, and with everything clear in your mind, it’s very easy to notice changes.

For me, Outlander didn’t follow that trend. I’d read the book when I did because I’d discovered the show on Amazon, and found the adaptation to be incredibly well done. It’s most often faithful to the book, but the times it’s not are handled with aplomb. By episode four, I knew I’d have to write about it, and this was an idea I enjoyed more than the idea of writing about the 1991 publication.

The show is not as long-winded as the book. It couldn’t be, of course. There is less time in which to tell the tale, and the audience – naturally including far more people than the original readers – wouldn’t be as patient, especially nowadays. (It makes a difference that the series arrived over 20 years after the first book was published.) The show is slicker for it. On her website (n.d.), Gabaldon says the series started by accident in the late 1980s when she decided to write a novel for “practice”, and that one of her goals was to learn what it took to write one. She continues:

In essence, these novels are Big, Fat, Historical Fiction, á la James Clavell and James Michener. However, owing to the fact that I wrote the first book for practice, didn’t intend to show it to anyone, and therefore saw no reason to limit myself, they include…

She lists a plethora of plot elements and genres. The statements match the content: lengthy, and sort of introspective and indulgent at times, considering Gabaldon was writing for herself. The show does away with a lot of the length and indulgence¹.

Something lacking from the book that can be pinned on the fact that it is about Claire and Jamie’s relationship, is Frank. Claire doesn’t think of him all that much, but having him drop from the narrative completely means the time travel factor is somewhat lost. The show includes a few scenes of Frank looking for Claire. While totally made up for the show and quite possibly not on the timeline Gabaldon envisaged, these few scenes rectify the time travel problem. Frank’s inclusion enables the production crew to take the story further, showing how just the shortest nod to Frank – in his own right, rather than as a memory for Claire to discuss – changes the narrative for the better. It’s likely true we’re not meant to feel much for Frank, but having him off the page seemed a bit too easy.

The show doesn’t tend to specify dates, leaning more on seasons of the year. The book mentions specific days. (Whilst the section in the prison is horrific, I found literary happiness when I read that ‘tomorrow’ was 22nd December, and I was at that moment sat beside my Christmas tree on 21st.) The show simply moves the action at the beginning to a different season. This, whether planned with it in mind or not, neatly gets around the problem in the book wherein the days of Christmas come and go, at a monastery no less, without a mention. Christmas in the show is moved forward, and though not actively celebrated (likely a diversion too far) the rooms at Castle Leoch are decorated. The winter season is introduced with its own camera shot, snow falling in the Highlands.

I was impressed by the handling of the sex scenes, balanced between fidelity to the source and what would work on television; no less explicit but fewer in number; a couple of fade to blacks. Of that scene where Jamie punishes Claire and then may or may not have coerced her into sex depending on your interpretation, it seemed the crew had taken reader comments and criticisms on board, both those related to the action itself and those who were discussing the historical context. The historical context had been very brief in the book. After the initial argument between the couple, which was well done, I was actually surprised the next part of the story was included; the acting by Sam Heughan brought a lot more of the historical context into it, and the scene was scripted and filmed so that it goes straight to the fact of the matter and is careful in its visuals.

It’s great to hear from Jamie’s perspective; though only used in the ninth episode, The Reckoning, it was good to get out of Claire’s head and be able to see Jamie for himself. A reason for the change may well have been so that the crew could develop better a storyline Claire only heard about, but whatever the reason, it produced better content and a more rounded, historical, narrative. It also allowed for more historical and character context in the scene of resolution, post punishment.

Changes/elements I don’t think worked so well in general included the ending, which shortens a section considerably and changes the location of the monastery so that the sailing to France is the cliff hanger of series one rather than the conclusion of the section in Wentworth Prison. However, context matters here: it works as a ‘teaser’ for series two, it’s simply that the book ends in a way that’s both a minor cliff hanger and a fully-fledged ending.

As series one continues, the crew take more liberties. The Watch was unnecessary, an extra few characters for not much gain. But whilst lengthy, I liked Claire’s dinner with the British officers and her following dealings with Randall. It gave a fuller picture of him and succeeded in being suspenseful in its own right.

Where fidelity to the source is concerned and, I’d argue, good planning when changes are made, Outlander has to be one of the best adaptations I’ve seen. The acting is excellent, and the boldness in choosing what to keep, and, at times, what to expand upon when it comes to the explicit, is striking.

Footnotes

¹ It’s interesting to note Gabaldon’s role in all this. The author is heavily involved in the production; credited as Consultant, she reviews all the scripts and watches the first cuts, checking for historical accuracy and anything that’s been changed from the book that could conflict with the storyline later on (Napoli, 2018). One such change for accuracy involved the scene wherein Claire joins a group of village women to dye wool; a fictional addition in terms of the book, the production crew had written a scene in which Claire walked down a cobbled street and joined a woman for tea and Bridge – Gabaldon scrapped the idea as it wasn’t representative of the era, describing instead a workaround which became the wool scene (Gabaldon, 2016).

About the differences in medium, the author said (ibid.):

I also know the constraints they were dealing with, which is that they have a limited number of 55-minute blocks, and within that block, you have to have a little dramatic arc.

Online References

Gabaldon, Diana (n.d.) The Outlander Series, Diana Gabaldon’s website, accessed 10th January 2019

Gabaldon, Diana (2015) Interview: Diana Gabaldon on Sam Heughan – ‘I was sitting there typing, “this man is grotesque, what are you thinking?”‘, The List, accessed 11th January 2019

Gabaldon, Diana (2016) ‘Outlander’: How author Diana Gabaldon really feels about Sam Heughan and Caitriona Balfe, Entertainment Weekly, accessed 11th January 2019

Gabaldon, Diana (2018) So… four years!, Diana Gabaldon’s Facebook page, accessed 16th January 2019

Napoli, Jessica (2018) ‘Outlander’: Author Diana Gabaldon reveals which line Sam Heughan didn’t want to say and more, TV Insider, accessed 11th January 2019