Books Now!

News and reviews from around the corner to across the world


21 Comments

CLASSICS VANDALISM: HANDS OFF JANE AUSTEN!

jo-trollopeausten

As I was cleaning the oven this morning (a thankless if necessary task made only marginally more acceptable by a fresh crop of this week’s arts, books and music podcasts, the family sensibly staying away from me as I swore and scrubbed with a mad gleam in my eye), I reflected on the current Austen debate.

Cleaning the oven and thinking about Jane Austen may, at first glance, seem an oxymoron, but as I battled with seemingly irremovable burned-on grime, it appeared a suitable metaphor for a malaise spreading through the literary world: scouring the classics, re-inventing the déjà-vu.

Don’t get me wrong: I’m all in favour of the next film adaptation of Wuthering Heights or David Copperfield, but it seems to me that Classics Mania is spawning a new breed of literature: Classics Reinvention, whereby contemporary writers are commissioned to write sequels to, or radically review our well-loved favourites.

In the columns of the British press, we’ve seen a sparring match between writers Sam Leith and Elizabeth Day in The Observer over the so-called “Austen Project”. For those not in the know, this HarperCollins publishing initiative involves six novelists reworking Austen’s oeuvre for the 21st century. Joanna Trollope has just published (and note the ampersand) Sense & Sensibility; out soon are Val McDermid’s Northanger Abbey, Curtis Sittenfeld’s Pride and Prejudice and Alexander McCall’s Emma.

Leith is all in favour – there’s nothing wrong with dressing an old aunt in new clothes, he says, citing Bridget Jones as the obvious pastiche-to riches phenomenon . Day, however, is scathing. “I’d much rather read a new book….containing inventive ideas and new ways of seeing human behaviour than a novel that is constrained by someone else’s plot devices handed down through the centuries.”, she writes.  “I don’t need to read about Mr Knightley listening to Arctic Monkeys on his iPod to be convinced that Jane Austen is ‘relevant’. I already know she is.”

There are in fact two ideas here. The first stream is the homage novel, inspired by a piece of fiction, but remaining highly original, with its own take on character and plot.  Although I’m not a Helen Fielding fan, Bridget Jones clearly falls into this category.  So does a work such as Zadie Smith’s fabulous On Beauty which revisits Howard’s End in a completely individual way.

A few years ago, BBC TV produced a superb series where a number of Shakespeare comedies, including Much Ado About Nothing, The Taming of the Shrew and A Midsummer Night’s Dream were re-interpreted for today. Although plotlines were subscribed to in principle, the writers enthusiastically fitted them to contemporary mores, so they became free-standing works of art.

The second stream is where pure spin-offs or sequels of original works are written, which I have greater difficulty accepting. It’s all very well to say such books acquire a separate personality and should be judged accordingly but why tamper with what already works? Cynically, this seems to be an exercise in pure greed and commercialism, with publishers and the media cashing in on our seemingly unending appetite for much-loved classics.

There was a ghastly reworking of Pride and Prejudice on television a few years ago called Lost in Austen where a modern day London gel time-travels  back to the 19th century and finds herself living and acting out the role of Elizabeth Bennett. It was so unbelievably awful that I can’t recall it now without shuddering.  As a spoof, it was crass beyond belief and seemed to me to be merely exploitative, with no artistic merit whatever.

It’s not only Austen, of course.  David Benedictus has revisited Winnie-the-Pooh. This year, Sebastian Faulks has given birth to a new Bertie Wooster and William Boyd has launched a revamped 007. I’m sure that the authors who have been commissioned to write these “new” works have done so with respect, a high level of craft and great intelligence. And yet, and yet, I remain unconvinced. I truly enjoy the work of Sebastian Faulks but  have absolutely no interest in  a 21st century version of Jeeves.  I’ll keep on reading Wodehouse as I’ve always done.

Advertisements


1 Comment

All men are islands: Michelle de Kretser revisited

mdk

Questions of Travel, by Michelle de Kretser

Published by: Allen & Unwin, $39.99

It’s no secret that I am a huge Michelle de Kretser fan, and would love to see Questions of Travel win the Miles Franklin Award this year. De Kretser is the bridesmaid of literary fiction, and though she’s won many prizes, has been passed over for major awards like the Man Booker and what used to be known as the Orange.  What I love about her work is the scope of her literary landscapes. She tracks down concepts, themes and ideas like a hungry hunter; satirical one moment, reflective the next, her prose is witty and elegant, her characterisations delve deep. And she respects her readers, offering them intelligent observations that make them think and question long-held values and assertions.

Questions of Travel was extensively reviewed when it appeared last year. The lives of its central characters, Ravi, who seeks asylum in Australia, and Laura, a compulsive nomad, are set out in dual, episodic narratives, each covering a similar timeline.  Laura travels the world, first just another Australian backpacker seeking new experiences, and then with increased emotional disconnectedness; Ravi longs to see the world and escape from the instability of war-torn Sri Lanka. Their life paths cross briefly when IT specialist Ravi and editor Laura work at the same travel publishing company in Sydney, then just as quickly spring apart. And though both experience the death of loved ones, longing and loneliness, this is not a conventional love story. So what is Questions of Travel about?

What strikes me on reading the reviews is that the novel resonates in many ways. For some it is a musing on the differences between the Third World and Australia; some approach it as an exploration on the nature of travel itself: does travel broaden the mind and our connectedness to others or simply reinforce cultural stereotypes? Others believe the work dissects changing patterns of society from the 1960s to 2004.

It is all of those things, of course, and more. The book’s two, seemingly contradictory, epigraphs offer a clue. The first is taken from a 1956 poem by Elizabeth Bishop: “But surely it would have been a pity/not to have seen the trees along the road/really exaggerated in their beauty.”  The second, from EM Forster’s Howard’s End: “Under cosmopolitanism, if it comes, we shall receive no help from the earth. Trees and meadows and mountains will only be a spectacle.”

De Kretser seems to favour an anti-pastoral, anti-Romantic view – arguing that the spectacular wonders of the world can be appreciated from a distance but offer little consolation in the ebb and flux of contemporary life. The expanse of the novel and its motley collection of characters, uncovers  violence, terrorism and murder, the plight of refugees, the  shallowness of modern sexual relationships, the snide humour of office politics. In London, Laura falls in love with Theo, a quintessential Romantic, the gay, self-destructive  son of German refugees who surrounds himself with kitsch objets trouvés and faux antiques, as a barricade against the passing years. In Sri Lanka and Australia, Ravi meets fellow-countrymen whose ambition and drive harness the Internet for commercial success.

It is within the world wide web that history and geography finally meet: arguably the most spectacular technological development of the 20th century, the Internet facilitates extraordinary freedom for virtual travel across time and space – yet its pathways are littered with abandoned websites, forgotten blogs and the flotsam and jetsam of dotcom failed start-ups. Questions of Travel suggests that our individual flight paths are equally littered with the debris of the human heart.

Read it: for intelligent, multi-layered narrative and superbly crafted prose.