The Real Jane Austen
A Life in Small Things
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- ¥750
発行者による作品情報
THE SUNDAY TIMES BESTSELLER
‘It is good to meet the real Jane Austen at last’ Independent on Sunday
'Brilliantly illuminating … by focusing, chapter by chapter, on one thread or another of Austen’s experience, Byrne allows us to grasp the richness of her inner life’ Guardian
Who was the real Jane Austen? A retiring spinster content with quiet village life? Or a strong-minded woman who chose to remain unmarried and to fashion herself as a professional writer?
Bestselling biographer Paula Byrne uses objects that conjure up a key moment in Austen’s life and work – a vellum notebook, a topaz cross, a writing box and a bathing machine – to reveal the true self of this most beloved author.
'Sparklingly multi-faceted, catching the light in intriguing ways … Byrne’s Jane is far less likely to go for a quiet walk in the garden than she is to be whisked into town in search of a velvet cushion' Mail on Sunday
Reviews
‘The perfect companion to the novels … Tremendous’ Joanna Trollope, Sunday Telegraph
‘Brilliantly illuminating … Its great merit is … by focusing on one thread or another of Austen's experience, Byrne allow us to grasp the richness of Austen's inner life’ Guardian
‘A neat approach to biography, allowing Byrne to burrow deep beneath the surface of Austen’s existence. The result is a delightful and engrossing portrait’ Sunday Times
‘Byrne's essays add up to a fine appraisal of the novelist's environment, truly Austenish in the way they burrow into a sequestered and often secretive private world’ Observer
‘A perceptive and energetic guide to Austen and her surroundings … Byrne’s critical study consists of a series of beautifully written, interrelated essays … [her] style gives fresh charms to her subject matter. ‘The Real Jane Austen’ is bold, fast-moving and accessible’ Daily Telegraph
‘Engaging, compelling, a delightful and engrossing book. Of course we all know that the "real" Jane Austen will forever be a mystery, but most 21st century Janeites will adore this one. Byrne's passion is nothing if not persuasive’ Sunday Times
‘What is fresh in Byrne's biographical approach is her use of a succession of contemporary objects that Austen owned, or that might be seen in intimate connection with her interests … this adds an attractive immediacy to a well-known story … Byrne's affectionate study paints a pleasingly lively picture of Austen's life’ Independent
‘Brilliantly illuminating … riveting. By focusing, chapter by chapter, on one thread or another of Austen's experience, Byrne allows us to grasp the richness of her inner life’ Simon Callow, Guardian
‘The portrait of Austen that emerges is sparklingly multi-faceted, catching the light in intriguing ways … her Jane is far less likely to go for a quiet walk in the garden than she is to be whisked into town in search of a velvet cushion, a necklace or a smart new dress’ Irish Mail on Sunday
About the author
Paula Byrne was born in Birkenhead. Her first book, Jane Austen and the Theatre, was shortlisted for the Theatre Book Prize. Her second book, Perdita, was a Richard and Judy book-club pick and a best-seller. Her third, Mad World:Evelyn Waugh and the Secrets of Brideshead is ‘the fascinating story of a great house and a great family.’ It was published to rave reviews in 2009 and was another best-seller. She is married to Jonathan Bate and lives in Oxford.
PUBLISHERS WEEKLY
Just in time for the 200th anniversary of Jane Austen's Pride and Prejudice (first published in January 1813), comes Paula Byrne's vivacious new portrait of its author. The approach Byrne takes is refreshingly material-based and the book is experimental in structure; each chapter unfolds from the biographer's description of a small object associated with Austen's life (chapter titles include "The East Indian Shawl", "The Cocked Hat" "The Card of Lace", "The Crimson Velvet Cushions", and "The Topaz Crosses"). This technique serves two functions: firstly, it honors the precision for which Austen was famed by drawing attention to the material artifacts of her life; secondly, it challenges the " official' family biography of Jane Austen," which stresses the novelist's "enclosed, sequestered world", coloring Austen's life with the same "ivory miniature" quality she famously ascribed to her fiction. Byrne's Austen, as revealed through this archive of objects, emerges as a worldly woman, profoundly enmeshed in a wider world than she's often acknowledged to occupy. This is an Austen with a sense for the political as well as for the finer points of sensibility and one who will be unfamiliar (though never unrecognizable) to many readers.
