Another one crossed off the list! And that’s about all I have to say about Jane Eyre. This was not a particularly exciting read for me. Again, I’m fairly certain that this is because I knew the storyline fairly well … Continue reading
Being a grad student also means that you read books alongside others who are (a) literarily-inclined (it’s my blog, I get to make up words here), (b) intensely smart, and (c) who are PhD’s.
This means that when you discuss Villette as a group and someone casually mentions M. Paul’s death, and nobody else seems confused by this statement, and you say “Wait, what? M. Paul dies? When did that happen?!” Everyone else looks at you with their smug, accusatory “you obviously didn’t finish the book” faces. Like this:
And then you go in to objection/defence mode and start raving: “No, seriously, I thought he came back and they got married. IT SAYS HE COMES BACK AND THEY GET MARRIED! It was all arranged. Look, right here, on page 545, it says ‘Mr. Emmanuel’s return is fixed.’ SEE! IT WAS FIXED!”
But everyone is still looking at you like
And they try to plead with you “but the storm, Catherine,” “He couldn’t have survived, Catherine,” “it was implied, Catherine.” And now YOU start looking at THEM like
And you remind them that it says “Let them picture union and a happy succeeding life” at the end of the book, and that is exactly what you’re doing!
That, my friends, is how you become the dreamer, the optimist, the desperate hopeless romantic in a room full of intellectuals.
I’m going to sit in a corner with John Lennon and we’re going to talk about how Paul made it through the storm.
Plus, the book does not definitively say that M. Paul dies. Ambiguity was Bronte’s thing. It was her calling card. It was what she did, people! This whole book is a giant ambiguous mess! That was literally the point! But, oh, the only thing that apparently was not ambiguous is the death of M. Paul? Nope. Nope. I’m nope-ing all over that.
IN FACT, it was conceded that there is a reading which supports M. Paul surviving the storm and coming home (read: my reading) AND THAT Bronte admitted to her publisher that there were two possible readings of her ending (HA!). HOWEVER the general consensus, and the author’s intention is that M. Paul dies.
Apparently the way Bronte originally wrote it, M. Paul does die. 100%. None of this “there was a big storm that probably killed him but I’m not going to say that it definitely happened, only hint to it and let my readers draw their own conclusions” bullshit. As the story goes, Bronte’s dad didn’t like this ending, he thought it was too sad, and so Bronte changed it to leave the door open for the possibility of M. Paul surviving the storm.
I’m just saying, is all. Hasn’t anyone seen the ending of Dexter? Even if M. Paul doesn’t make it back to Lucy (which, let’s be honest, is not the worst thing, the man is kind of a jerk), it’s still entirely possible that he survived the storm and is off being a logger somewhere.
J’accuse Pikachu: https://cdn.meme.am/cache/instances/folder616/49397616.jpg
You tryna tell me kid: https://pbs.twimg.com/media/BvBEVInCcAAYa1k.jpg
Dumb and Dumber: http://i.memecaptain.com/gend_images/cg_TpQ.jpg
original Dexter image (unedited): http://uproxx.files.wordpress.com/2013/10/dexter-finale-death.jpg?quality=90&w=650&h=356
Shirley was an interesting read. From the introduction to this book, you would expect the book to be about nothing — like the Seinfeld of Victorian England literature, but without the comedy. Although, I must admit, there are some moments of humour, when it seems Bronte can’t hold herself back and the narrative is so thick with sarcasm and satire that it’s impossible to ignore.
The introduction to this edition, written by Lucasta Miller, a Bronte scholar, informs the reader (i.e. me) that Bronte took a particularly ‘masculine’ approach to the narrative voice in this text…whatever that means. You see, apparently people had begun to suspect that Currer Bell (Bronte’s pseudonym) was a woman. Suddenly, in light of this new information, Jane Eyre went from being praised as original and intense to being “an affront to femininity,” “morally suspect,” and “politically subversive” (xii). So you know, normal Victorian gender biased bullshit. Of course, I’m not suggesting that Jane Eyre was not all of those things — I haven’t read it (yet), but if it’s anything like Shirley, it probably was guilty on all charges. In Bronte’s defence, the definition of femininity at the time was crap, morals were a bastardisation of Christian values loosely applied to men and used a tool to control women, and politics can always use a little subversion, can they not? So, there’s that.
The first half of this book is kind of boring…but on purpose, so Bronte gets a pass. Apparently she was trying to appear more masculine and throw off the sent of her femininity (good luck, doesn’t she know our smell is so strong it attracts bears?). According to Miller, ‘more masculine’ means writing frivolously about womanly things like feelings and romance. What is funny, though, is that this book does involve a romance. Two key romances, actually…so nice try, Bronte. But, the men are the ones who have all the feelings and need help controlling their emotions, so that’s pretty funny.
Anyways – I’m off to read Bleak House and try to wrap my head around Jameson’s theories on cognitive mapping.