• Review: “The Great Gatsby”
  • Review: “Mud”
  • Review: “The Place Beyond the Pines”
  • Review: “Ginger & Rosa”
  • Review: “Stoker”
  • Review: “Side Effects”
  • Review: “Mama”
  • Review: “Zero Dark Thirty”
  • Review: “Gangster Squad”
  • Review: “Les Misérables”
  • Review: “This Is 40”
  • Review: “Any Day Now”
  • Review: “Anna Karenina”
  • Review: “Silver Linings Playbook”
  • Review: “Hitchcock”
  • Review: “Lincoln”
  • Review: “Life of Pi”
  • Review: “Flight”
  • Review: “Skyfall”
  • Review: “Argo”
  • Review: “The Perks of Being a Wallflower”
  • Review: “Looper”
  • Reviews: “Arbitrage” and “The Master”
  • Review: “The Words”
  • Review: “Celeste and Jesse Forever”
  • Review: “Lawless”
  • Review: “The Campaign”
  • Review: “Total Recall”
  • Review: “To Rome with Love”
  • Review: “The Dark Knight Rises”
  • Review: “Moonrise Kingdom”
  • Review: “Magic Mike”
  • Review: “The Amazing Spider-Man”
  • Review: “Brave”
  • Review: “Abraham Lincoln: Vampire Hunter”
  • Review: “Prometheus”
  • Review: “Snow White and the Huntsman”
  • Review: “Bernie”
  • Review: “The Dictator”
  • Review: “The Raven”
  • Reviews: “Salmon Fishing in the Yemen” and “Jiro Dreams of Sushi”
  • Review: “Chimpanzee”
  • Review: “The Cabin in the Woods”
  • Review: “American Reunion”
  • Review: “Detachment”
  • Review: “The Hunger Games”
  • Review: “Casablanca” (In Re-Release; 1 Night Only)
  • Review: “Silent House”
  • Review: “Wanderlust”
  • Review: “This Means War”
  • Review: “Safe House”
  • Review: “The Woman In Black”
  • Review: “The Grey”
  • Review: “Extremely Loud & Incredibly Close”
  • Review: “Contraband”
  • Review: “Shame” and “Young Adult”
  • Review: “War Horse”
  • Review: “The Girl with the Dragon Tattoo”
  • Review: “Like Crazy”
  • Review: “Hugo”
  • Review: “The Descendants”
  • Review: “My Week with Marilyn”
  • Review: “J. Edgar”
  • Review: “In Time”
  • Review: “Take Shelter”
  • Review: “The Thing”
  • Review: “The Ides of March”
  • Review: “Dream House”
  • Review: “50/50”
  • Review: “Moneyball”
  • Review: “Abduction”
  • Review: “Drive”
  • Review: “Contagion”
  • Review: “The Debt”
  • Review: “Our Idiot Brother”
  • Review: “The Help”
  • Review: “Fright Night”
  • Review: “Beginners”
  • Review: “Crazy Stupid Love”
  • Review: “Rise of the Planet of the Apes”

Colin Carman

~ Jane Austen Scholar & Culture Vulture

Colin Carman

Tag Archives: frankenstein

It’s Alive…with Mary Shelley!

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Posted by colincarman in Pandemic Posts

≈ 3 Comments

Tags

bournemouth, British literature, COVID-19, english literature, frankenstein, lord byron, mary shelley, mary wollstonecraft, pandemic, percy shelley, romanticism, william godwin

In 1826, Mary Wollstonecraft Shelley published The Last Man, a three-volume novel about a close circle of friends ravaged by global pandemic. A roman à clef, the novel is a thinly veiled depiction of her late husband (who drowned at age 29 off the coast of Italy), her sister-in-law and perhaps the most famous poet of her day: Lord Byron. While we attempted to get Mrs. Shelley to speak about the genesis of her most popular work, after Frankenstein, she sounded distracted over the phone and, well, not a little drunk. Regardless, this was a big get for the blog and we were deeply grateful for her time.

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MWS: Let me start by saying you have a lock of my hair. That’s just straight-up creepy and that’s coming from me, Mary Shelley, the author of Frankenstein. I’m OG: original goth.

Preserving a lock of hair, as you know, was a custom during the nineteenth century. In Austen’s Sense and Sensibility, Willoughby cuts a lock of Marianne’s hair.

MWS: So was bear grease, used to wax men’s mustaches and beards. Let it go, already.

It was an expression of gratitude and fealty. You’re the mother of horror.

MWS: Thank you. I’d rather be the “mother of horror” than a “horrible mother.” And do not even utter the word “Austen” to me. Homegirl wrote six novels on the same damn theme: the happy marriage. Her books belong in the fantasy section, not the Classics. She was a lifelong spinster, too, so what does she know?

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That may be true. However, you and Austen remain the most popular writers from the early nineteenth century, eclipsing all of the major male canonical Romantic writers. Say what you want about the “Big Six” Romantic authors – Blake, Wordsworth, Coleridge, Percy Shelley, Keats, and Byron – but it’s the women writers that remain popular.

MWS: My mother, Mary Wollstonecraft, pretty much invented Western feminism before dying in childbirth, so I was bound to write something important.

What inspired the pandemic tragedy that is The Last Man?

MWS: Well, apart from my traumatic birth, a close second was my marriage to Percy Shelley. When you ask for six straight-jackets on your wedding registry, you know there’s trouble ahead. Not exactly husband of the year. But no one is worse than Byron. I mean, who puts their illegitimate daughter (with my half-sister, Claire, no less) in an Italian convent only for her to die of typhus in 1822? I’ll tell you who: Byron. What a man-splainer, too.

How are you staying busy during quarantine?

MWS: Well, I’ve been dead for 169 years, so death is the ultimate quarantine. Percy likens death to a “chaste cold bed” in his poem Epipsychidion and, can I just say for the record that he did me dirty in that poem? Beyond its un-pronounceable title, he refers to me as a “cold chaste Moon.” How dare he! That’s the syphilis talking.

This interview has resurrected you, Lazarus-style, so what are you doing, if you and I had to imagine?

MWS: Mommy-blogging.  Working on a one-handed handstand. I’d work on a Frankenstein sequel but Stephen King and a million bad B-movies already took care of that, and, I might add, with a total lack of imagination. Every day begins with housecleaning. Today I’m focusing on kitchen utensils. Then I binge-watch RuPaul’s Drag Race. That show is pure fire. Fun fact: I helped a cross-dressing lesbian writer Mary Diana Dods marry a single mother, Isabella Doulgas, and flee to the Continent where they were officially wed. I didn’t just flatten the curve; I stayed ahead of it. I mean, I eloped with a married man as a teenager, so…Nice pic, btw, and thanks for visiting my grave in Bournemouth. There are three of us in there.

Trip to MS Grave

Indeed you did. In 1826, you published the novel The Last Man which is about a global pandemic in which you write: “The grand question was still unsettled of how this epidemic was generated and increased. If infection depended upon the air, the air was subject to infection…the evil was so wide-spreading, so violent and immedicable, that no care, no prevention could be judged superfluous.”

MWS: Scary, right? I wrote Frankenstein in 1818, so I had to think of even scarier scenarios. One book reviewer, in 1826, referred to me as the “authoress of that monstrous literary abortion, Frankenstein.” I freely admit that The Last Man is 100 pages too long.

 That’s demeaning and indicative of how patriarchal the world of letters was during your lifetime. “Abortion”: strong word.

MWS: Whatever, it’s the “authoress” that irks me. It’s like doctor-ess or lawyer-ess or or actress. Scratch the last part. If you want to read a real literary abortion, try Monk Lewis’s The Monk. It’s not even good-bad but just bad-bad. Here’s a line, related to Good Friday: “I was much then scandalized by seeing her eat the wing of a chicken…‘how, Madona Flora! quoth I, ‘does your mistress eat flesh upon Fridays?” Major eye roll here.

We’re living it, right now. You go on: “Nature, our mother, and our friend, had turned on us a brow of menace. She shewed us plainly, that, though she permitted us to assign her laws and subdue her apparent powers, yet, if she put forth but a finger, we must quake.”

MWS: Eat your heart out, Stephen King. Oh and happy Earth Day. But, seriously, everything works out in the end, except for the global population.

People are understandably worried about homeschooling their kids.

MWS: I was homeschooled by my father, the anarchist philosopher and novelist William Godwin, so no problems there. There was no Tik-Tok, and when the candles ran out, the night was pretty much over.

There is an argument out there, however specious, that your husband Percy Bysshe Shelley wrote the bulk of Frankenstein. Your thoughts?

MWS: Haters gonna hate, you know, especially that crank who wrote The Man Who Wrote Frankenstein. When toilet paper finally sells out in stores, you can replenish with that book. What it comes down to is simple sexism. The argument boils down to this: behind every great novel written by a woman stands a man. Percy was a poet but not a prose-writer. Have you ever read the Gothic fiction he wrote while at Oxford? My margin notes read: “When is this over?” and “Make it stop.” It’s plagiarized Monk Lewis and Anne Radcliffe.

You wrote Frankenstein when you were nineteen?

MWS: That’s right. My great-great-great-granddaughter was a first year at Harvard until COVID-19 sent her home. This pandemic has ruined many young people’s chance to slut it up at college. I grieve for them. A friend tells me the hook-up apps are all chat and no action. Tough times.

Any advice?

MWS: We got Chinese takeout last night, so here’s my fortune cookie: “Even the longest days will come to an end.” No, I’ll quote myself and The Last Man: “One solution to the intricate riddle of life; to improve ourselves, and contribute to the happiness of others.” Full stop.

Bysshe Please

 

 

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Austen’s Powers

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Posted by colincarman in Jane Austen

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austenland, boris johnson, brexit, britain, dickens, frankenstein, gardener, hampshire, Jane Austen, lewis carroll, mansfield park, mary shelley, portsmouth, UK

“You’ve had good weather. Jane is smiling on you.” – the Secretary for the Jane Austen Society of the UK

IS this a novelist or a cult?

If Austen is a writer, she is, according to one visitor at Chawton House today, the “greatest writer in history.” That’s quite a claim! Frankenstein is my favorite novel – it’s the Swiss Army knife of novels, really: you can do anything with it! – but I wouldn’t go so far as to say Mary Shelley was the greatest writer in the language. Have you read Valperga? Bloody hell! If Austen is a cult, it’s a pretty innocuous one: the followers prefer Earl Grey and cakes over Kool-Aid.

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Yesterday was the annual general meeting, or AGM, for the Jane Austen Society of the UK, and my participation was the one requirement of the research grant that I received. The other was that I don’t use too much American academic jargon around the library: please leave your “Anthropocene” and your “queer performativity” in the coat check, thank you very much.

All in all, I didn’t have to do much as the first “bloke” to serve as the International Visiting Researcher here at Chawton House. Finally, my male privilege is paying off. They incorrectly announced that joining them from overseas was Dr. Colin Carman from Colorado University – it’s actually Colorado Mesa University – but I rolled with it. Apparently, Pakistan has just opened a branch of the Jane Austen Society. Elizabeth Bennet in a burqa. Gotta’ start somewhere!

I packed one J. Crew necktie and navy-and-white seersucker pants for the occasion, so I was doubling as a Southern mayor. I was even able to slip away during the lunch break in order to read The Guardian and eat my egg sandwich in the wilderness. “In these great places,” Mary Crawford declares in Mansfield Park, “the gardeners are the only people who can go where they like.” The same is true of college professors. The association’s president Sir Sherard Cowper-Coles presided. He was Britain’s ambassador to Afghanistan. If you can survive that colonial sand trap, surely you can figure out the alternative ending to Persuasion. Below is a picture of me and the “brill” Clio, a graduate student at Southampton University, which we took after I traveled by a vintage coach from Alton. Dating from the 1960s, the coach could have easily doubled as a greenhouse once the sun came out and it was good we had the wind at our back to reach our destination.

(The other picture is of me playing the lap-dancing stan to Charles Dickens in Portsmouth. Chuck looks grumpy, eh? He preferred the company of underage girls; oh wait, that was Lewis Carroll.)

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The idea that Austen was somehow divorced from reality, and the political events of her time – oh you know, just those minor skirmishes known as the Revolutionary and Napoleonic wars and the American war of 1812 – is a myth that stubbornly persists. The fact is that she explored how major historical events affected English people in private. Their reactions to public events always reveal their innermost character. Those who think that Austen toiled away in rural isolation don’t know that her cousin Eliza married a Frenchmen, the Comte de Feuillide, who was later guillotined (outlined in 1794). I hate when that happens. The coquettish life of his widow, Eliza, has been thoroughly researched by Deirdre La Faye (who was missed at this year’s AGM). La Faye made a major and meticulous deposit in Austen studies.

Speaking of the French, the lecture at the AGM was on Austen’s connections to French culture – the “French connection” – and it was an important reminder that Brexit and the premiership of Boris Johnson (or “BoJo” as the tabloids call him) are existential threats to England and globalism more broadly. Austen never crossed the Channel but she did enjoy her many trips (to see her brother) to London, which she described in her letters as the “Regions of Wit, Elegance, fashion, Elephants & Kangaroons” (sic). Did you know that the so-called greatest novelist in the English language had horrendous spelling? There was no auto-correct, of course, and read Love and Friendship to see how she consistently confuses her Is and Es, so “Freindship” over and over again. I before E except after C, June Austin! Here the townie Mary Shelley, whose famous philosopher father, tutored her in their London home, had the country girl beat. Her Monster: “Friend, goooood!”

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At the AGM, the average age of the attendee was 75 and bless their hearts: these devotees train 51 miles SW from London to Alton, bus to Chawton (roughly a mile away), and listen to a guest lecturer carefully selected for his/her lack of jargon. The British approach to literary studies is very different than America’s – they find our research a bit “wacky” and daft – and an Oxbridge professor can get away with an entire essay on the use of dipthongs and assonance in Pride and Prejudice whereas we Americans only take notice when you use “post-structuralist,” “Foucault,” and “Marxian hermeneutics” in a single sentence.

It was in the country village of Chawton that Austen transformed herself into a professional writer. She heavily revised the drafts she had on hand of Pride and Prejudice and Sense and Sensibility (composed in her birthplace of Steventon), and, over the last eight years of her life, she completed a trio of new works: Mansfield Park, Emma, and Persuasion. By then time, Austen was middle-aged (by Regency-era standards) and therefore past the usual age at which an English woman married. “Being now in her twenty-first year, Maria Bertram was beginning to think matrimony a duty” (Mansfield Park 67).

P&P

Shrewdly, she realized that writing for money could be her ticket to ride. In 1814, she wrote her beloved niece, Fanny Knight, to report that there may or may not be a second edition of Mansfield Park, adding: “People are more ready to borrow & praise, than to buy – which I cannot wonder at; – but tho’ I like praise as well as anybody, I like what Edward calls Pewter too.” Without her novels, Austen would have died penniless.

While we are on the topic of my family, my paternal grandparents were Revolutionary War reenactors. My grandfather would get all dressed up in his three-cornered hat, hunting shirt and matching breeches; my grandmother donned the bonnet and looked like a regular Abigail Adams. I suppose it’s these folks that passed down the DNA for loving history. Austen is synonymous with the Regency period and its frilly fashion. Skip “The Jane Austen Book Club” and watch instead the benignly funny Austenland for a light-hearted romance in which an American girl (Keri Russell) travels to England to immerse herself in her hero’s native countryside and find her very own Mr. Darcy. Along the way, we’re told, she’s excited to meet such Regency-era women as Mrs. Pepper Pot and Mrs. Wigglewam.

Wham, bam, thank you, Ma’am! 

PS: How precious is this quirky English fellow who insists on wearing Regency-period clothing to work?

 

Welcome to Austenland

02 Tuesday Jul 2019

Posted by colincarman in Jane Austen

≈ 7 Comments

Tags

British literature, chawton, colorado mesa university, england, frankenstein, Jane Austen, lord byron, mary shelley, pride and prejudice

Ah, l’aimable Jane!

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This is a blog where, recipe-by-recipe, I re-create the famous French meals popularized by Julia Child, including her Chef Boyardee. Oh wait, that’s been done before! Instead, this is a blog where I leak top-secret government files and document my time spent inside the Ecuadorian embassy while on roller-skates. Rats, it’s all been done before!

No, no, this is a blog where I document a four-week research trip to Austenland in Hampshire, England. Please don’t tell me to “keep calm” — tranquillity is overrated — but I’ll allow this, just this once:Read Austen

If you’re still reading, you haven’t clicked away because you’re (1) a fan of Austen, (2) a close family member of mine, or (3) someone with a browser that froze. If you fall into the third category, and especially if you own a PC, just throw a heating blanket over the monitor and hope for the best.

Welcome to Austen-Leaks or, better yet, Wiki-Darcy. What do you call a cat-lover’s version of an Austen novel? Answer: Purr-suasion.

Whatever you call it, this is a blog that begins on the Butts, the Butts Road in Alton, England, that is. This is the only English-speaking country on the face of the earth — didn’t they invent English, after all, with the help of Beowulf, or was it Virginia Woolf? — that can label a street “Butts Road” without a hint of self-consciousness. Please do not wake up the Butts! They need their rest. The Butts family tree is available upon request. It’s in my back pocket.

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New to the area, I originally thought that a family with the most unfortunate of surnames resides in this house but, alas, the Butts takes you toward Chawton Village where one of the world’s greatest storytellers lived for the last eight years of her life. Her name was Mary Shelley – oh wait, Mary Shelley was the subject of my first book. This blog, and germinating second book, is about Jane Austen (1775-1817). Thanks to the sponsorship of The Jane Austen Society of America, I was awarded the international visitor position for a research trip. That’s the academic version of solitary confinement but the cuisine is better. But this is England, folks, so just barely.

Today the lovely and welcoming people at Chawton even made me a name tag – Colin Carman, Ph.D. J.A.S.N.A. I.V.P. (yeah, you know me) – so it’s official. (The more abbreviations after your name, the more useless you are in everyday life. Once my car broke down, so I sold it to the roadside assistant and just drove off in his; it was a Geo.) There’s even a slight discount on sandwiches and tea in the dining room.

Today, I offered a potato chip to the house dog – Toby (photo-ready below) – who came by the table where I was taking notes, but he didn’t want the chip. Could he be cuter? Having two Labrador Retrievers back in the States, I was shocked to meet a dog that actually refused a table scrap. Our dogs will eat anything that doesn’t eat them first. I also had a clearer head today, on my second day in Hampshire, than I did on my first day: jet-lag, a discount on Cornish ales in the pub just down the road from the room I rented, et cetera. Toby remains unimpressed.

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Before I got a real job at the univ, I maintained this blog and wrote film reviews. I also taught yoga, which means your life is pretty much going nowhere fast. I take that back: you can achieve nirvana but also bankruptcy. You see, watching films and reading literary fiction are my two favorite past times but to really drum-up traffic, on Twitter or in the blogosphere, you have to really (and contentiously) engage with other bloggers and Tweeters and I haven’t the time. This is called “dragging,” as in “Oooh, don’t drag me, bro.” You won’t find me in many comments sections as it’s a rather giant W.O.T. (or, waste of time). That was five or so years ago, before I taught a course on Jane Austen at my home university, Colorado Mesa University, and before I wrote a book about Mary Shelley, her poet-husband Percy Bysshe Shelley, and their engagement with the natural world. Thank you to my alma mater for providing me with unlimited shower caps for life.

Having spent a lot of time reading and thinking about the English Romantics, I thought it might be wise to shift my focus to another Romantic heavyweight, Jane Austen, and sustain my interest in environmentalist philosophy. Austen is generally thought to be a “social” writer and chronicler of nineteenth-century courtship and marriage. She is still unfairly pegged as a “woman writer” with “feminine” interests but we’ll return to that misconception later on. I can’t help myself, so here is a Shelleyan collage from last summer when I visited Mary Shelley’s grave in Bournemouth. Check out the guy who photobombed my pic. He actually growled at me to get out the way. The only requirement at the Shelley gravesite is that you don’t rob it, and that’s not a lot to ask! Oh and don’t plug the corpse into any available outlet.

MS GraveFor now, here are four important facts about Jane Austen, her life and works.

#1. Jane Austen was the seventh of eight children and her only sister Cassandra’s junior by two years. They had five brothers, which meant sizable Tesco bills for their father, the Reverend George Austen and his wife Cassandra. Three sons in three years: good grief! Here is Mrs. Austen’s grave in the churchyard just below the manor house owned by the Austen sisters’ older (and considerably richer) brother Edward. Every good writer needs a benefactor, after all! The third eldest of the Austen boys, Edward was adopted by the very wealthy cousins of his father, the Knight family, which meant that his financial situation went from black to white, or day to Knight, in the blink of an eye. I have a pretty wealthy uncle myself — he invented the surgical glove two centuries ago — but he hasn’t yet put me on the payroll. Uncle Nathan, stop acting like you have a new phone and responding: “Who dis? New phone.” You can only use that excuse twice.

Saint Nicholas

The year 1808 was a bad year for Edward’s wife, who died, but a good year for the unmarried Austen sisters who wasted no time in moving from Southampton to Chawton. The former place is the port city where a little-known vessel called the Titanic embarked on its fatally frosty voyage. The Titanic, as you know, did not live up to its illustrious name but that’s the just the tip of the iceberg. Two years prior to the death of Edward’s wife, the Austens gathered in Chawton and by 1809, they made this tiny village in the west country their home.

The two Cassandras, Jane’s sister and mother, are interred adjacent to the sanctuary of Saint Nicholas, which you can see jutting out from the trees below. This is a stone-built chapel dating from the thirteenth century. Jane’s father officiated for thirty years at Saint Nick’s, which is 870 fewer years than the yew tree has stood outside and, at one time, held the keys to the front door inside. Remember to lock the doors tightly, so the swallows don’t conduct their own service. But don’t be such a cassandra about it! Not the end-of-the-world. Why are mother and daughter buried side-by-side? I’ll look into that. What do you call a cremated Romantic? (I don’t have a punchline for that one, so feel free to contribute in the comments.) Are you asleep already? For the textual equivalent of Melatonin, here is my book on the Shelleys.

Mother Sister Graves

#2. A tad more biography: before Christmas in 1775, Jane was born to her clergyman father during a bitterly cold stretch of winter, so cold, in fact, that lambs froze in the fields. Lamb shoulder is a thing in the UK, btw. Do they have shoulders, really? Were lamb shoulder pads a thing in the 1980s? Reverend Austen, who had forfeited his scholarship at Oxford University, because he wished to start a family with Cassandra, walked in the snow to lay holly at Saint Nicholas and to serve the sacrament. This was soon after his second and youngest daughter was born at home, without the aid of a physician (common for the time period), and christened at Steventon Rectory. Jane Austen’s birthplace has been since torn down. I was born and raised in New Jersey, which means that my baptismal font served a dual function as a punch bowl at Dunkin’ Donuts.

#3. Jane Austen isn’t simply a proper English writer but, by now, an industry unto herself. In fact, her novels could easily rival that single work of her contemporary, Mary Shelley, in terms of screen time. There are more than one hundred Frankenstein-inspired films – “Frankenweenie” anyone? – and nearly that many loosely based on Austen’s fiction. There’s even Pride and Prejudice with Zombies, a book that can be judged by its cover since the title is the most memorable part. I’m currently re-writing a work of J.D. Salinger’s, tentatively called The Catcher in the Rye with Zombies, so Brian Grazer or other Hollywood producers, if you’re out there, just shoot me an email and it’s yours. It’s too bad she predates movie royalties. She and Cassandra would travel by donkey — no joke — to Alton to get groceries; had she lived to see her novels’ success on screen, the sisters would have traveled by Tesla and thrown their candy wrappers out the window.

#4. Jane Austen only saw real success during the last seven years of her short but productive life; she likely died of Addison’s Disease but the cause of death remains a debate in medical history. Adrenal failure is certainly no fun; what is fun is this little tidbit: when Austen completed a draft of what would become her most popular novel, Pride and Prejudice, she was just twenty years old (only one year older than Mary Shelley when she composed Frankenstein) though she would not see the novel in print for another thirty seven years! And you thought your pointless doctoral dissertation on apiarian promiscuity in the works of Margaret Atwood was taking forever! This means that Austen was same age as her classic heroine, the strong-willed Elizabeth Bennet, when she wrote it and nearly as old as Eliza’s mother when it finally reached the reading public in 1813. From there, she lived like a Romantic-era rock star: sex, drugs, and rock n’ roll. Actually, no, that was Lord Byron’s job and the unmarried Austen lived out her days without children, or, as I like to say, “child-free.” In fact, she regarded her novels as her children and, having gotten a taste of success, remarked that the success of Pride and Prejudice and Sense and Sensibility “only makes me long for more.” Get it, girl!

Speaking of longing, I need some much-needed sleep and that Cornish ale I mentioned before, so, for now, c’est moi inside the private reading room in the Chawton Library. I’m sensitive about my big shiny forehead because I keep my brains in there. Thus, there is no comments section. This place has really gone to the dogs if they (Toby, included) let the likes of me in! I kid, of course, as this blog is at times irreverent. It’s the Shelleyist in me to not respect authority. And it’s the Janeite in you that, I hope, will keep you reading about this research trip. Toby will also be contributing.

Thanks again to the lovely people at Chawton House! They seem so happy, and as my uncle Jim put it, why wouldn’t they be!? As we stupidly reply to obvious statements, in the States, “Right?!?”

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Onward! PS: What does Morrissey think of Jane Austen? His far-right stances as of late have me worried for his mental health and, worse yet, I bought tickets to see him in Utah in September. But back to Jane…

Review: “Mama”

28 Monday Jan 2013

Posted by colincarman in Film Reviews

≈ 10 Comments

Tags

andres muschietti, frankenstein, freud, guillermo del toro, horror, jessica chastain, mama, nikolaj coster waldau, pans labyrinth

MAMA11

“Visitation Frights”

Grade: B+ (RENT IT)

THE FREUDIAN FREAKSHOW that is “Mama” features some genuine hair-raisers.  The movie’s monster is an undead mother who climbs the walls like a human tarantula and whose undulating hair is rivaled only by the ginger heroine in last year’s “Brave.” Linguistic analysts have shown that the syllabic repetition of “Ma-ma” originates in the infant’s primal pronunciations, in that original cry for food, warmth and only later on,936full-pan's-labyrinth-poster self-doubt and Hallmark cards. The film’s producer is Guillermo del Toro and you need only glance at the poster for his “Pan’s Labyrinth” (2006) to grasp his adeptness at melding horror and vaginal symbols; he’s like the gothic Georgia O’Keefe.  In “Mama,” the film’s orphans – Victoria and little sister Lily – are haunted not just by the titular specter but by oozing crevices that ruin perfectly good wallpaper, out of which flutter moths and Mama herself, sometimes in the form of a vacuum-powered toupee.

“Mama” begins with that most psychoanalytical of scenarios: abandonment. The opening, which precedes a beguiling title sequence of creepy drawings in a child’s hand, is a rush: Victoria and Lily’s father has killed his coworkers, his estranged wife, and whisked away his daughters only to veer off a snowy highway into the valley below.  He comes upon a cabin in the woods where he attempts to kill his daughters in cold blood but, low and behold, the cabin is owned and operated by a more powerful and over-protective force: Mama Mia!  Fast film-review-mama-fca7bc20726c2efaforward to the aftermath of the girls’ disappearance and their worried uncle played by Nikolaj Coster Waldau of “Game of Thrones” and girlfriend Annabel (a rocker Jessica Chastain).  Everything about Chastain’s character is thin; she sports a Joan Jett haircut, plays bass in a band, and curses like a sailor because, well, she’s hardcore. Did I mention she’s a brunette here?  She’s also a rival to Big Mama who has managed to transplant herself to the girls’ closet thanks to a pseudo-scientific study of their rehabilitation. (Why, by the way, are there no spy-cams in this joint?)  Annabel must play mother to the girls inside a home that looks like the suburban one in “Home Alone” (1990) but, of course, this is a crowded house (with ghosts and things that go bump in the night). Annabel speaks to the film’s central contrivance when she herself asks the good doctor: “This is a joke, right?”  And a hokey one at that.  Like the Ramones T-shirt she dons to demark her air of twenties cool, her character is standard issue.

hqdefaultWhat is far from standard is the fact that we see more and more of the ghoulish Mama as her secret is found out.  She has her own tragic back-story and when the girls’ surrogate family returns to the very cliff where Mama took her life, we begin to sympathize with the film’s glass-eyed ghoul. (This was Mary Shelley’s conceit in her 1818 Frankenstein.: “I’m malicious because I’m miserable!”)  This is anything but standard in your conventional horror flick: the killer isn’t entirely unkind but kind of kin.  Here, in “Mama,” we get that old familiar feeling that the thing we all love and fear the most is, well, family.

Review: “Prometheus”

09 Saturday Jun 2012

Posted by colincarman in Film Reviews

≈ 19 Comments

Tags

alien, charlize theron, dariusz wolski, frankenstein, frankenweenie, logan marshall green, michael fassbender, noomi rapace, prometheus, ridley scott, science fiction

“Space Oddity”

Grade: A- (SEE IT)

MY 3-D SCREENING of Ridley Scott’s “Prometheus” was preceded by a trailer for Tim Burton’s forthcoming “Frankenweenie,” due out this Halloween.  The titles of both films openly borrow from the 1818 classic that more or less invented the mode we now know as science-fiction, that is, Frankenstein, or the Modern Prometheus.  The rebellion myth involving Prometheus was nothing short of indispensible to the nineteenth-century English Romantics.  Mary Shelley’s novel notwithstanding, husband Percy Shelley penned his own lyric drama Prometheus Unbound in 1819 while Lord Byron wrote his own short poem heroizing the Titan god, the fire-stealer who, in bringing fire to humanity, found himself eternally punished by Zeus, his liver pecked out by an eagle on a daily basis.  “Like thee,” he wrote in 1816, “Man is in part divine,/A troubled stream from a pure source.” What obsessed the Romantics about the promethean narrative was is its faith in boundless human potential, in boundary-breaking, in playing with fire just as the gods do.  Prometheus, as our ally, stands in for the human.

Accordingly, questions of origins permeate Scott’s “Prometheus,” which is the most intelligent, visually satisfying science-fiction film since “Avatar,” and similarly interested in corporate exploitation and the meaningful ways in which spacemen rage against the machine.  Literally a machine, the excellent Michael Fassbender (“Shame”) plays a white-blooded robot named David who takes his cues for seeming human from Peter O’Toole in “Lawrence of Arabia.”  A close second to David’s robotic rigidity is Charlize Theron as Miss Vickers, a bloodless corporate drone working for Weyland Corp. and overseeing a trillion-dollar mission aboard the vessel named Prometheus.  The goal?  Investigate the alien remains on a deserted planet, which gradually draws the shipmates into its abyss.  The consequence?  Bloodshed, lots of it.  “Prometheus” looks in two directions at once: forward to the future world of 2090 when companies have colonized outer space and backward to the filmic past of “Alien” (1979), the first of Ridley’s Scott’s two sci-fi films – his equally influential “Blade Runner” followed three years later. “Prometheus” functions as a prequel to that first film.  Proof that we are back in the world of “Alien” are the airlock doors and padded hallways of the spaceship, the pod-like sleep chambers and, of course, the threat of a foreign body bursting through one’s abdomen.  It is hard to imagine a more terrifying scene on film this year than the self-administered C-section scene in “Prometheus” wherein an octopus-like fetus is gorily excised.

While Theron remains in the same deep freeze as her performance in “Snow White and the Huntsman,” she is offset by warmer, more human characters such as Elizabeth Shaw (played by Noomi Rapace) and her ill-fated husband Charlie (Logan Marshall-Green).  The screenplay by Jon Spaihts and Damon Lindelof foregrounds Dr. Shaw as a proto-Ripley heroine who demands some ethical accountability from her cruel captains of (space) industry.  After surveying the alien planet that holds the key to humanity’s own origins, he declares: “This is just another tomb.”  This is the eeriest aspect of Ripley’s masterpiece: space is a sepulcher, and with dim, brownish camerawork by Dariusz Wolski, we are plunged into a kind of puzzle.  “Prometheus” isn’t just a top-shelf work of space-horror with the power to shock, even revolt, its viewer, but the work of a director wiser than the one who directed “Alien” thirty years ago. With its milky-way moments reminiscent of “2001: A Space Odyssey” and even Malick’s magnum opus, “The Tree of Life,” Scott’s film goes deeper, to the DNA level of human life and its precarious place in a mysterious and often cruel cosmos.

Review: “Rise of the Planet of the Apes”

06 Saturday Aug 2011

Posted by colincarman in Film Reviews

≈ 3 Comments

Tags

allen ginsberg, animals, frankenstein, james franco, john lithgow, mary shelley, other, patrick doyle, revolution, rise of the planet of the apes, rupert wyatt, san francisco, science fiction, summer blockbuster

“Orangutangulous!”

Movie Review: “Rise of the Planet of the Apes”

Grade: B+/A- (SEE IT)

THE FACT THAT star James Franco (“Howl,” “Milk”) is currently studying British Romantic literature at Yale University in pursuit of his PhD – what’s next? Anne Hathaway as college chancellor? – may help to explain his initial attraction to the script for “Rise of the Planet of the Apes” (2011), a  prequel to the “Planet of the Apes” franchise which will have you saying to yourself: Go monkey, go!   After all, it’s in Mary Shelley’s Frankenstein (1818), that Romantic caveat of a classic which more or less spawned the entire science-fiction genre, that Victor Frankenstein describes his laboratory as that “workshop of filthy creation.”  What gives “Rise of the Planet of the Apes” its chill (and genuine thrill) is that the pharma-medical lab at the film’s center is anything but filthy.  Instead, the scientific headquarters known as Gen-Sys look like a state-of-the-art facility: sleek and silvery countertops, Plexiglas cages in which primates pace and occasionally scream out, Franco (as Will Rodman) in an immaculately white lab coat.

The glossy exterior of Gen-Sys belies what goes on behind (sliding and keypad-operated) doors: primates are routinely tested and tortured in pursuit of a cure for Alzheimer’s.  The drug restores memory in humans and turns primates into Super-Simians.   Rodman’s own dad, Charles (played by a befuddled looking John Lithgow) is himself an Alzheimer’s sufferer and another guinea pig for his son’s trials.  Therein lies the film’s recipe for disaster: just as Will is boasting to Gen-Sys’s investors that he and boss (smooth operator David Oyelowo) have found the cure, an ape known as Bright Eyes busts out of its cage and through the window to a board meeting only to be shot dead by security.  Bright Eyes leaves behind a baby chimp whom Will smuggles out of the lab and names Caesar.

It’s a portentous name, Caesar, and until he finally realizes the dictatorial power of his moniker, we’re left waiting for Caesar to rise and rule a maligned race of apes just dying for a leader.   With the help of Will’s panacea for Alzheimer’s, which he steals from the kitchen fridge, Caesar crosses the Rubicon into San Francisco and starts a revolution.  Who knew the City by the Bay had an incompetently run monkey house sitting on its borders like a ticking time bomb, and that silverback apes, looking for spears to throw at cop cars, could pull parking meters out of sidewalks like they’re picking daisies? In a film really about the horrors of captivity, this George is more furious than curious.

Director Rupert Wyatt (“The Escapist”) maintains a breezy pace as Caesar’s insurrection gathers speed and force.  One notable scene is set on Will’s street where drivers and pedestrians alike stop, mouths agape, to see something amazing:  scores of monkeys swinging through the trees above in a gathering storm.  The standoff on the Golden Gate Bridge is truly something to behold; one would be hard-pressed to think of another confrontation on film between ape and mounted policeman (ape: 1; S.F.P.D.: 0).  Though “Rise of the Planet of the Apes” delivers the exploding helicopters and car chases we expect from a summer blockbuster, Wyatt also maintains a thoughtful plea for animal liberation.  Sympathy was central for the Romantics, especially Mary Shelley whose Creature in Frankenstein longs for someone to sympathize with his plight, and the traces of that creed are still visible in Caesar’s all-too-human cries for freedom and non-violence.

The most affecting revelation in Frankenstein is when Shelley’s monster, with his “dull yellow eye,” confesses to his crimes, saying: “I’m malicious because I’m miserable.”  His motivation all along was the simple, childlike desire to be loved and needed, but looking the way he does, humans only reacted with fear and horror.  This is more or less the point of Wyatt’s eco-positive parable, “Rise of the Planet of the Apes”: all monsters are man-made just as every futile attempt to contain the animal other via zoos and laboratories ultimately backfires.  So long as we continue to oppress all other species, the threat of their violent takeover will remain both a fear and a fantasy.

As a modern-day Frankenstein’s monster, Caesar wants to lead a bloodless revolution – he even stops his monkey underlings from killing humans indiscriminately – but it’s just not in the cards, especially in a Hollywood movie.  It’s telling that his only line in the movie is “No,” which he utters to the surprise of his inept jailers in the ape house.  If you’re listening, Patrick Doyle’s pulsing score will stay with you until you reach the parking lot, but it’s the final image of Caesar finally in his element, free (for now) in the treetops overlooking San Fran, that will enliven you long after.

For my review of Franco as poet Allen Ginsberg in “Howl,” see:

“A Movie Based On a Poem”

(Review of “Howl”) in the _G&LR_

http://www.glreview.com/article.php?articleid=316

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