From Page to Screen: Lady Susan/Love and Friendship

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About the Book – Lady Susan by Jane Austen

Lady Susan is a short epistolary novel thought to have been written in 1794 (when she would have been 19) but never submitted for publication by the author and only published in 1871, years after her death. It takes the form of letters between Lady Susan and her friend Mrs Johnson, between Lady Susan’s sister-law, Mrs Vernon, and her mother Lady de Courcy and Mrs Vernon’s brother, Reginald.

Read my review of the book here.

About the Film – Love and Friendship (2016)

Love and Friendship was written and directed by Whit Stillman and stars Kate Beckinsale as Lady Susan. Despite being an adaptation of Jane Austen’s novel Lady Susan it borrows its title from another juvenile work of Austen’s which, although epistolary in form, has completely different stories. More information about the film, Love and Friendship can be found here.

Book vs. Film

The film relies on the book for a great deal of its dialogue with written exchanges in letters being transformed in the film into conversations between characters, voiceovers by Lady Susan or dialogue delivered straight to camera. Any additional dialogue expands on characterisation from the novel – for instance, some very amusing examples of the stupidity of Sir James Martin – successfully imitating the tone of the novel. Kate Beckinsale delivers Lady Susan’s words with verve and wit, bringing to life her scheming, manipulative nature and astonishing chutzpah.

The characterisation is very true to the novel, bringing Austen’s creations faithfully to life on the screen. The film allows the writer/director to depict some of the minor characters who receive only passing mention in the book, such as the husband of Lady Susan’s friend, Mrs Johnson.   The period atmosphere is also effectively conveyed through the costumes (gorgeous) and locations.

The film follows the story of the novel closely but of course has the benefit of being able to dramatize the exchanges between characters rather than recount them retrospectively as in the novel. It navigates the rather abrupt ending of the novel well, giving a mischievous hint of an additional angle to the relationship between Lady Susan, Sir James Martin and Mainwaring.

My Verdict

The film would be nothing without Jane Austen’s wonderful writing. However, the nature of an epistolary novel is that there is very little description of characters, locations, etc. Therefore, the film wins for me because it can do what the novel is unable to do: visually represent the characters – their appearance, mannerisms, etc. – and the period through costume and location.

What do you think?  Have you seen the film or read the book?  Which did you prefer?

Review – In a German Pension: 13 Stories by Katherine Mansfield

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Rich, psychologically probing short stories

About the Book

In A German Pension was Katherine Mansfield’s first published collection of short stories.  The stories were inspired by her stay at the Villa Pension Müller in the Bavarian spa of Bad Wörishofen in 1909.

My Review

The stories in this collection are divided between vignettes of guests staying at the Pension, which are gently mocking in tone, and much darker stories that often have a sting in the tail. A frequent theme of the latter is the social and sexual oppression of women.

In “German Meat”, the female English narrator is a sardonic commentator on the coarseness of the German guests who are constantly eating, perspiring and discussing their ailments and bodily functions. They, however, believe themselves superior to the English, particularly when they learn the narrator does not know what kind of meat her husband likes and, worse still, admits to being vegetarian. Mansfield deftly conveys the guests’ greed and grotesque habits in a few short sentences.

A glass dish of stewed apricots was placed upon the table.

“Ah , fruit!” said Fraulein Stiegelauer, “that is so necessary to health. The doctor told me this morning that the more fruit I could eat the better.”

She very obviously followed the advice.

In “The Sister of the Baroness”, Mansfield exposes the snobbery of the other guests who cannot contain their excitement at the prospect of a relative of a wealthy member of the nobility staying at the Pension.

Coffee and rolls took on the nature of an orgy. We positively scintillated. Anecdotes of the High Born were poured out, sweetened and sipped: we gorged on scandals of High Birth generously buttered.

Unfortunately their fawning regard for the new arrival turns out to be misplaced when it is revealed she is merely the daughter of the Baroness’s dressmaker.

In “The Advanced Lady”, the pretensions to intellectual superiority of a lady writer is lampooned.

“But Love is not a question of lavishing,” said the Advanced Lady. “It is the lamp carried in the bosom touching with serene rays all the heights and depths of..”
“Darkest Africa,” I murmured flippantly.
She did not hear.

Amongst the darkest of the stories is “The Child Who Was Tired”, which recounts the unrelenting toil of a young girl and the dreadful act she is driven to by despair and exhaustion.

Another notable story is “Frau Brechenmacher Attends a Wedding” in which the conventions of domestic bliss are satirised both in the descriptions of the pompous Herr Brechenmacher and the events of the wedding breakfast. The bride is described as having the appearance of “an iced cake, all ready to be cut and served in neat little pieces to the bridegroom beside her”. There is a sense of violence underpinning the story which is realised in the final sentence.

Although Mansfield later came to regard this early collection of stories as having little merit, I enjoyed the precision of the writing and their dark humour.

Book facts: 189 pages, first published 1911

My rating: 4 (out of 5)

In three words: Dark, satirical, precise

About the Author

mansfieldKatherine Mansfield was born in New Zealand in 1888 and is widely considered the best short story writer of the modernist period. She left New Zealand for the UK when she was 19 and then travelled for a time in Europe. She was associated with a “new dawn” in English literature and together with T.S. Eliot, James Joyce and Virginia Woolf made the London of the period the centre of the literary world. Mansfield’s stories were written without a conventional plot but concentrated on one moment, a crisis or turning point rather than a sequence of events. Often very dark, common themes of her stories include human isolation, the conflict between love and disillusionment, idealism and reality. Katherine Mansfield died in 1923 at the age of only 34.

For more information about her life and work: https://www.katherinemansfield.com/about-katherine-mansfield/