what is the best biography of jane austen

Jane Austen Biography

Life and times of english author jane austen, jane austen's life was relatively short but it nonetheless produced a lasting legacy including six major published works..

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The best books about Jane Austen, for all the superfans

You've finished the novels, so where do you go after Pride and Prejudice ? From insightful biographies to modern fiction, here are the best books about and inspired by Jane Austen.

Few authors have been as analysed, criticised, lionised, imitated, adapted and parodied as Jane Austen. And yet, you could barely hang a bonnet on what is known of the writer who lampooned the gentry of Georgian England with such ruthless precision that, in 2017, she became the first female writer to be pictured on a British banknote.

No diaries, if they ever existed, survived and her family mysteriously burned the bulk of her correspondence after her death. But despite the enduring questions over what Jane Austen was really like, her work endures stronger than ever-inspiring TV shows, films and books. Lots of books.

If you're an Austen Super Fan, as loyal to her as Mr Darcy is to an awkward encounter, these are the ones you should consider, from the classics she influenced to modern fiction she inspired to non-fiction that shines a light on one of literature's most intriguing figures.

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Profile of Jane Austen

Novelist of the Romantic Period

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Known for: popular novels of the Romantic period

Dates: December 16, 1775 - July 18, 1817

About Jane Austen

Jane Austen's father, George Austen, was an Anglican clergyman, and raised his family in his parsonage. Like his wife, Cassandra Leigh Austen, he was descended from landed gentry that had become involved in manufacturing with the coming of the Industrial Revolution . George Austen supplemented his income as a rector with farming and with tutoring boys who boarded with the family. The family was associated with the Tories and maintained a sympathy for the Stuart succession rather than the Hanoverian.

Jane was sent for the first year or so of her life to stay with her wetnurse. Jane was close to her sister Cassandra, and letters to Cassandra that survive have helped later generations understand the life and work of Jane Austen.

As was usual for girls at the time, Jane Austen was educated primarily at home; her brothers, other than George, were educated at Oxford. Jane was well-read; her father had a large library of books including novels. From 1782 to 1783, Jane and her older sister Cassandra studied at the home of their aunt, Ann Cawley, returning after a bout with typhus, of which Jane nearly died. In 1784, the sisters were at a boarding school in Reading, but the expense was too great and the girls returned home in 1786.

Jane Austen began writing , about 1787, circulating her stories mainly to family and friends. On George Austen's retirement in 1800, he moved the family to Bath, a fashionable social retreat. Jane found the environment was not conducive to her writing, and wrote little for some years, though she sold her first novel while living there. The publisher held it from publication until after her death.

Marriage Possibilities

Jane Austen never married. Her sister, Cassandra, was engaged for a time to Thomas Fowle, who died in the West Indies and left her with a small inheritance. Jane Austen had several young men court her. One was Thomas Lefroy whose family opposed the match, another a young clergyman who suddenly died. Jane accepted the proposal of the wealthy Harris Bigg-Wither, but then withdrew her acceptance to the embarrassment of both parties and their families.

When George Austen died in 1805, Jane, Cassandra, and their mother moved first to the home of Jane's brother Francis, who was frequently away. Their brother, Edward, had been adopted as heir by a wealthy cousin; when Edward's wife died, he provided a home for Jane and Cassandra and their mother on his estate. It was at this home in Chawton where Jane resumed her writing. Henry, a failed banker who had become a clergyman like his father, served as Jane's literary agent.

Jane Austen died, probably of Addison's disease, in 1817. Her sister, Cassandra, nursed her during her illness. Jane Austen was buried in Winchester Cathedral.

Novels Published

Jane Austen's novels were first published anonymously; her name does not appear as author until after her death. Sense and Sensibility was written "By a Lady," and posthumous publications of Persuasion and Northanger Abbey were credited simply to the author of Pride and Prejudice and Mansfield Park . Her obituaries disclosed that she had written the books, as does her brother Henry's "Biographical Notice" in editions of Northanger Abbey and Persuasion .

Juvenilia were published posthumously.

• Northanger Abbey  - sold 1803, not published until 1819
• Sense and Sensibility  - published 1811 but Austen had to pay the printing costs
• Pride and Prejudice  - 1812
• Mansfield Park  - 1814
• Emma  - 1815
• Persuasion  - 1819
• Father: George Austen, Anglican clergyman, died 1805
• Mother: Cassandra Leigh
• James, also a Church of England clergyman
• George, institutionalized, disability uncertain: may have been mental retardation, may have been deafness
• Henry, banker then Anglican clergyman, served as Jane's agent with her publishers
• Francis and Charles, fought in the Napoleonic wars, became admirals
• Edward, adopted as heir by a wealthy cousin, Thomas Knight
• older sister Cassandra (1773 - 1845) who also never married
• Aunt: Ann Cawley; Jane Austen and her sister Cassandra studied at her home 1782-3
• Aunt: Jane Leigh Perrot, who hosted the family for a time after George Austen retired
• Cousin: Eliza, Comtesse of Feuillide, whose husband was guillotined during the Reign of Terror in France, and who later married Henry

Selected Quotations

"For what do we live, but to make sport for our neighbors, and laugh at them in our turn?"

"The quarrels of popes and kings, with wars and pestilences in every page; the men all so good for nothing, and hardly any women at all — it is very tiresome."

"Let other pens dwell on guilt and misery."

"One half of the world cannot understand the pleasures of the other."

"A woman, especially if she has the misfortune of knowing anything, should conceal it as well as she can."

"One cannot be always laughing at a man without now and then stumbling on something witty."

"If there is anything disagreeable going on men are always sure to get out of it."

"What strange creatures brothers are!"

"A lady's imagination is very rapid; it jumps from admiration to love, from love to matrimony in a moment."

"Human nature is so well disposed towards those who are in interesting situations, that a young person, who either marries or dies, is sure to be kindly spoken of."

"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife."

"If a woman doubts as to whether she should accept a man or not, she certainly ought to refuse him. If she can hesitate as to Yes, she ought to say No, directly."

"It is always incomprehensible to a man that a woman should refuse an offer of marriage."

"Why not seize the pleasure at once? How often is happiness destroyed by preparation, foolish preparation!"

"Nothing is more deceitful than the appearance of humility. It is often only carelessness of opinion, and sometimes an indirect boast."

"Man is more robust than woman, but he is not longer lived; which exactly explains my view of the nature of their attachments."

"I do not want people to be agreeable, as it saves me that trouble of liking them."

"One does not love a place the less for having suffered in it unless it has all been suffering, nothing but suffering."

"Those who do not complain are never pitied."

"It is happy for you that you possess the talent of flattering with delicacy. May I ask whether these pleasing attentions proceed from the impulse of the moment, or are the result of previous study?"

"From politics, it was an easy step to silence."

"A large income is the best recipe for happiness I ever heard of."

"It is very difficult for the prosperous to be humble."

"How quick come the reasons for approving what we like!"

"...as the clergy are, or are not what they ought to be, so are the rest of the nation."

"...the soul is of no sect, no party: it is, as you say, our passions and our prejudices, which give rise to our religious and political distinctions."

"You ought certainly to forgive them as a Christian, but never to admit them in your sight, or allow their names to be mentioned in your hearing."

• A Brief History of English Literature
• A Timeline of Jane Austen Works
• 'Pride and Prejudice' Characters: Descriptions and Significance
• 'Sense and Sensibility' Quotes
• 'Pride and Prejudice' Overview
• 'Pride and Prejudice' Summary
• 42 Must-Read Feminist Female Authors
• Jane Eyre Study Guide
• Biography of Charlotte Brontë
• 'Pride and Prejudice' Quotes Explained
• Quotes from Abolitionist and Feminist Angelina Grimké
• 'Jane Eyre' Questions for Study and Discussion
• An Introduction to the Romantic Period
• Biography of Calamity Jane, Legendary Figure of the Wild West
• Sophia Peabody Hawthorne
• Jane Boleyn, Lady Rochford

Jane Austen

(1775-1817)

Who Was Jane Austen?

While not widely known in her own time, Jane Austen's comic novels of love among the landed gentry gained popularity after 1869, and her reputation skyrocketed in the 20th century. Her novels, including Pride and Prejudice and Sense and Sensibility , are considered literary classics, bridging the gap between romance and realism.

The seventh child and second daughter of Cassandra and George Austen, Jane Austen was born on December 16, 1775, in Steventon, Hampshire, England. Austen's parents were well-respected community members. Her father served as the Oxford-educated rector for a nearby Anglican parish. The family was close and the children grew up in an environment that stressed learning and creative thinking. When Austen was young, she and her siblings were encouraged to read from their father's extensive library. The children also authored and put on plays and charades.

Over the span of her life, Austen would become especially close to her father and older sister, Cassandra. Indeed, she and Cassandra would one day collaborate on a published work.

To acquire a more formal education, Austen and Cassandra were sent to boarding schools during Austen's pre-adolescence. During this time, Austen and her sister caught typhus, with Austen nearly succumbing to the illness. After a short period of formal education cut short by financial constraints, they returned home and lived with the family from that time forward.

Literary Works

Ever fascinated by the world of stories, Austen began to write in bound notebooks. In the 1790s, during her adolescence, she started to craft her own novels and wrote Love and Freindship [sic], a parody of romantic fiction organized as a series of love letters. Using that framework, she unveiled her wit and dislike of sensibility, or romantic hysteria, a distinct perspective that would eventually characterize much of her later writing. The next year she wrote The History of England... , a 34-page parody of historical writing that included illustrations drawn by Cassandra. These notebooks, encompassing the novels as well as short stories, poems and plays, are now referred to as Austen's Juvenilia .

Austen spent much of her early adulthood helping run the family home, playing piano, attending church, and socializing with neighbors. Her nights and weekends often involved cotillions, and as a result, she became an accomplished dancer. On other evenings, she would choose a novel from the shelf and read it aloud to her family, occasionally one she had written herself. She continued to write, developing her style in more ambitious works such as Lady Susan , another epistolary story about a manipulative woman who uses her sexuality, intelligence and charm to have her way with others. Austen also started to write some of her future major works, the first called Elinor and Marianne , another story told as a series of letters, which would eventually be published as Sense and Sensibility . She began drafts of First Impressions , which would later be published as Pride and Prejudice , and Susan , later published as Northanger Abbey by Jane's brother, Henry, following Austen's death.

In 1801, Austen moved to Bath with her father, mother and Cassandra. Then, in 1805, her father died after a short illness. As a result, the family was thrust into financial straits; the three women moved from place to place, skipping between the homes of various family members to rented flats. It was not until 1809 that they were able to settle into a stable living situation at Austen's brother Edward's cottage in Chawton.

Now in her 30s, Austen started to anonymously publish her works. In the period spanning 1811-16, she pseudonymously published Sense and Sensibility , Pride and Prejudice (a work she referred to as her "darling child," which also received critical acclaim), Mansfield Park and Emma .

In 1816, at the age of 41, Austen started to become ill with what some say might have been Addison's disease. She made impressive efforts to continue working at a normal pace, editing older works as well as starting a new novel called The Brothers , which would be published after her death as Sanditon . Another novel, Persuasion , would also be published posthumously. At some point, Austen's condition deteriorated to such a degree that she ceased writing. She died on July 18, 1817, in Winchester, Hampshire, England.

While Austen received some accolades for her works while still alive, with her first three novels garnering critical attention and increasing financial reward, it was not until after her death that her brother Henry revealed to the public that she was an author.

Today, Austen is considered one of the greatest writers in English history, both by academics and the general public. In 2002, as part of a BBC poll, the British public voted her No. 70 on a list of "100 Most Famous Britons of All Time." Austen's transformation from little-known to internationally renowned author began in the 1920s, when scholars began to recognize her works as masterpieces, thus increasing her general popularity. The Janeites, a Jane Austen fan club, eventually began to take on wider significance, similar to the Trekkie phenomenon that characterizes fans of the Star Trek franchise. The popularity of her work is also evident in the many film and TV adaptations of Emma , Mansfield Park , Pride and Prejudice , and Sense and Sensibility , as well as the TV series and film Clueless , which was based on Emma .

Austen was in the worldwide news in 2007, when author David Lassman submitted to several publishing houses a few of her manuscripts with slight revisions under a different name, and they were routinely rejected. He chronicled the experience in an article titled "Rejecting Jane," a fitting tribute to an author who could appreciate humor and wit.

QUICK FACTS

• Name: Jane Austen
• Birth Year: 1775
• Birth date: December 16, 1775
• Birth City: Steventon, Hampshire, England
• Birth Country: United Kingdom
• Gender: Female
• Best Known For: Jane Austen was a Georgian era author, best known for her social commentary in novels including 'Sense and Sensibility,' 'Pride and Prejudice' and 'Emma.'
• Fiction and Poetry
• Astrological Sign: Sagittarius
• Death Year: 1817
• Death date: July 18, 1817
• Death City: Winchester, Hampshire, England
• Death Country: United Kingdom

CITATION INFORMATION

• Article Title: Jane Austen Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/writer/jane-austen
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: May 6, 2021
• Original Published Date: April 3, 2014
• The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.
• I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.
• There is nothing like staying at home for real comfort.

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Jane Austen: a guide to her life, books and death – plus 8 fascinating facts

Jane Austen (1775–1817) is one of the most recognised names in English literature. Her six major novels – Pride and Prejudice ; Sense and Sensibility ; Persuasion ; Mansfield Park ; Northanger Abbey and Emma – are considered classics today, renowned for their portrayal of English middle-class life in the early 19th century

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How much do you know about the life of Jane Austen? Writing for HistoryExtra , Helen Amy shares eight lesser-known facts about the famous novelist, and reveals how Jane came close to finding her own 'Mr Darcy'...

Jane Austen, a parson's daughter who grew up in quiet rural Hampshire in the 18th century, is one of England's most acclaimed novelists. She originally started writing to amuse herself and to entertain her family, who enjoyed reading aloud to each other. Although Jane’s books sold steadily during her lifetime, it was not until the Victorian period that she was recognised as a great author. By the 20th century her reputation had reached cult status and today a thriving commercial industry has grown out of her fame – a fact that would probably have astonished and amused Jane.

Who was Jane Austen?

But did you know…

Jane Austen’s life was saved by her cousin

In 1783 Jane’s parents, the Revd George Austen and his wife Cassandra, decided to send Jane’s sister, also called Cassandra, to Oxford with her cousin Jane Cooper, to be tutored by a Mrs Ann Cawley. This was probably to reduce Mrs Austen’s workload, for as well as caring for five boys of her own she had to look after several boys who lived at the rectory while being tutored by her husband.

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Jane, then aged seven, was devoted to her sister and would not be separated from her, so she went to Oxford as well. A few months later Mrs Cawley moved house to Southampton, taking the young girls with her. While there Cassandra and Jane became very ill with what was then called “putrid sore throat” – probably diphtheria [a potentially fatal contagious bacterial infection that mainly affects the nose and throat].

Jane was so ill that she nearly died, but Mrs Cawley, for some inexplicable reason, made no attempt to alert her parents. The young Jane Cooper took it upon herself to write and inform her aunt that Jane’s life was in danger. Without delay Mrs Austen and her sister Mrs Cooper set off for Southampton to rescue their daughters, taking with them a herbal remedy that would supposedly cure the infection.

The Austen sisters recovered under their mother’s care at home but tragically Mrs Cooper caught the infection and died soon afterwards at her home in Bath. The three girls never returned to Mrs Cawley.

Without her cousin’s timely intervention Jane Austen would almost certainly have died and the world would have been deprived of her outstanding talent.

• Listen | Historian and broadcaster Lucy Worsley shares her thoughts on Jane Austen

Jane Austen had a little-known brother

The first biography of Jane Austen, which was written by her nephew James Edward Austen-Leigh in 1869, gives the impression that she had only five brothers: James, Edward, Henry, Frank and Charles. There were, however, six sons in the Austen family – George was the second child of Revd Austen and his wife. He was also largely omitted from family memoirs.

George, who was born in 1766, suffered from epilepsy and learning difficulties and was probably deaf too. For this reason he did not live with his family – he was instead looked after by a family who lived in the village of Monk Sherborne, not far from Steventon Rectory where Jane was born and where she grew up.

The Austens made financial provision for George and visited him regularly, but he was not truly part of their lives. Apart from a few early letters that mention George and reveal his parents’ concern for him, he was not mentioned in later correspondence or in any of Jane’s letters.

The Austens clearly cared about George and they perhaps felt that he would better receive the attention he needed living quietly with another family than in the overcrowded rectory, which was also home to several of Revd Austen’s pupils.

George died at Monk Sherborne on 17 January 1838 at the age of 71. He lies in an unmarked grave in the churchyard of All Saints Church.

• What did Jane Austen really look like?

Jane Austen was partial to a Bath bun

Jane became fond of Bath buns (or ‘bunns’) while staying, and later living, in Bath. These large, rich cakes, which were similar to French brioche bread, were served warm and soaked in butter. The Austen family ate theirs for breakfast (traditionally 10am in the Georgian period), with tea or coffee. Some bakeries, including the famous Sally Lunn’s Bakery in North Parade, delivered these buns to their customers warmed and ready to eat.

• Flummery and Bath Olivers: how to make 5 different foods from Jane Austen's England

Jane, who seems to have had a sweet tooth, also liked sponge cake – in a letter to her sister in June 1808 she wrote: “You know how interesting the purchase of a sponge-cake is to me”.

There are many references to food and meals in Jane’s letters. She clearly enjoyed her food but she also took an interest in it because she helped her mother and sister to run the Austen household on a tight budget. Jane noted the cost of food items, which rose and fell during the years that England was at war with France, and she collected recipes for the servants to try.

Jane had a seaside romance

All her heroines fell in love with and married their perfect man, but Jane Austen was not so lucky herself – she received only one known offer of marriage. This unexpected proposal came from Harris Bigg Wither, the brother of her friends Elizabeth, Catherine and Alethea, who was heir to a considerable estate. At first Jane accepted this tempting offer but soon changed her mind because she knew she would not be happy if she married a man she did not love.

Many years after Jane’s death her sister, Cassandra, revealed that Jane had enjoyed a brief holiday romance while staying in Devon in the summer of 1802. The identity of the man concerned is not known, but it is believed that he was a clergyman. The girls’ nephew James Edward wrote that Cassandra thought this man “worthy to possess and likely to win her sister’s love”.

• Why didn't Jane Austen marry?

When they parted he expressed his intention to see Jane again, and Cassandra was in no doubt that he intended to propose to her. Sadly, though, they did not meet again because the unidentified man died suddenly not long afterwards, and Jane remained unmarried for the rest of her life.

If Jane had married the man she met in Devon and become a mother, the demands on her time would probably have made it very difficult for her to continue writing, meaning her last three novels might never have been written.

When did Jane first start writing?

Jane austen was renowned for her manual dexterity.

According to her nephew, Jane Austen was “successful in everything she attempted with her fingers”. All girls of her class were taught to sew by their mothers, and Jane’s needlework was exquisite. Jane, who was usually very modest, was proud of her skill with the sewing needle. In a letter to her sister written in September 1796 from her brother’s home, Jane wrote: “We are very busy making Edward’s shirts and I am proud to say that I am the neatest worker of the party”.

Jane was particularly good at folding and sealing letters, which was a useful skill in the days before ready-made envelopes. Her nephew recorded that “her paper was sure to take the right folds, her sealing wax to drop into the right place”.

• Read more | Jane Austen’s tips for “health and happiness”

Much to the delight of her nephews and nieces, Jane excelled at the game bilbocatch. A bilbocatch comprised a wooden handle with a pierced ball attached by a string. The player tossed up the ball and tried to catch it in a cup on the top of the handle. She was known to have caught the ball more than 100 times in succession, until her arm ached. When she needed to rest her eyes after reading or writing for long periods, she often played bilbocatch; how many times might she have caught the ball during the writing of the 55 chapters of Emma (1815), her longest novel?

Jane Austen’s bilbocatch can today be seen at the Jane Austen's House Museum in Chawton, Hampshire.

Jane Austen thought of her novels as children

In letters to her sister, Jane described Pride and Prejudice (1813) as her “darling child” and wrote “I am never too busy to think of S & S ( Sense and Sensibility ). I can no more forget it than a mother can forget her sucking child”.

This is an interesting analogy because, like pregnancy and childbirth, the creation of her novels was a long and laborious process. Pride and Prejudice , for example, was a long time in the making – she started the first draft in October 1796 but the book wasn’t published until January 1813. The (unread) manuscript was rejected by the first publisher to whom it was sent.

In regarding her novels as her children Jane may also have been acknowledging that if she had followed the traditional path of women of her class and become a wife and mother she would probably not have written them.

Her letters contain no indication that she regretted not having children but, if she did, at least she had the compensation of her many nephews and nieces, to whom she was a devoted and much-loved aunt.

• Read more | Jane Austen’s fiction: an accurate portrayal of life in Georgian England?

Emma was dedicated to the Prince Regent, even though Jane Austen hated him

Jane once recorded in a letter that she hated the Prince Regent because of the unkind way he was said to treat his estranged wife, Caroline, such as restricting her access to their daughter. So why did she dedicate Emma to him?

In the autumn of 1815 Jane nursed her brother Henry when he was dangerously ill. One of the doctors who attended him at his home in London was the Prince Regent’s physician. When he realised that his patient’s sister was the author of Pride and Prejudice the physician informed her that the prince was a great admirer of her novels and kept a set in every one of his residences. Much to Jane’s dismay the physician then informed the prince that she was in London, and the prince instructed his librarian, James Clarke, to invite her to Carlton House, his London home, to show her the library and his other apartments.

During her visit Mr Clarke told Jane that he had been instructed by the Prince Regent to say that she was at liberty to dedicate any forthcoming novels to him. At first Jane was not inclined to do so, until she was advised, probably by her brother Henry, to regard the invitation as a command. Reluctantly, therefore, Jane asked her publisher to dedicate Emma , then being prepared for publication, to him.

How did Jane Austen die?

There is no mention on jane austen’s gravestone that she was an author.

Jane is today known as such a famous author that she is to feature on the next £10 note, but there is no indication at all on her gravestone in Winchester Cathedral that she was a writer. Her grieving family did not consider it worth recording on the stone, and Jane was buried in the cathedral only because she died nearby and it is believed that her clergyman brother obtained special permission from the Dean.

Jane’s reputation grew slowly after her death at the age of 41. Her nephew, in his biography, wrote: “Her reward was not to be the quick return of the cornfield, but the slow growth of the tree which is to endure to another generation”.

Even in the middle of the 19th century, when Jane’s fame and popularity as an author were increasing rapidly, one of the vergers of Winchester Cathedral was mystified by the large number of people seeking out her grave. “Was there anything special about this lady?” he asked.

A brass memorial tablet, which mentions Jane’s writing, was placed on the wall near her grave in 1872. It was purchased with the profits of her nephew’s biography of her, which he wrote to satisfy the growing curiosity about her life and work. There was such a demand for it that a second, extended, edition was soon published. This was to be the first of countless biographies and books about one of England’s best-loved novelists.

Helen Amy is the author of The Jane Austen Files: A Complete Anthology of Letters & Family Recollections (Amberley Publishing, 2015) and Jane Austen: In Her Own Words and The Words of Those Who Knew Her (Amberley Publishing, 2014)

This article was first published by HistoryExtra in March 2016

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Jane Austen Biographies – Guided by Reason

“I admire the activity of your benevolence,” observed Mary, “but every impulse of feeling should be guided by reason; and, in my opinion, exertion should always be in proportion to what is required.” Mary Bennet, Pride and Prejudice Ch 7  

Interestingly, during her lifetime Austen’s public personae was an enigma. All of her novels were anonymously attributed to have been written ‘by a lady,’ a genteel practice to screen the identity of female authors from public scrutiny and family embarrassment. Until the posthumous publication of Northanger Abbey and Persuasion in December 1817, her identity, though known to a few well placed persons was unknown to the general public. When readers opened the title page of the first of four volumes they saw only “ By the Author of Pride & Prejudice, Mansfield Park, etc.; With a Biographical Notice of the Author.” Discretion being the better part of valour her brother Henry kept with tradition by not listing her name on the title page, but revealing the identity of the author as his sister Jane in writing her first official biography included in the volume. The full e-text of a “ Biographical Notice ”  is available for your edification and enjoyment at Molland’s and is well worth your perusal. Don’t miss the bit about Jane “ mouldering in the grave ”! 

As her exalted novels are testament of her genius, our fascination with the mind behind such genius has resulted in some excellent and interestingly creative biographies. Here are a few of my favourites that I would like to share. They represent books that I have read in part or in whole, and include a range of reading levels, each bringing Jane Austen’s life and times in closer appreciation. 

Quite possibly my favourite Jane Austen biography that I have had the pleasure to read thus far, Tomalin blends dry facts and historical material with a lively and creative narrative resulting in one fascinating read. Well researched and copiously documented in prudent scholarly fashion, this honest and uplifting homage to Austen, her family, and her life is a delight, and may be the most entertaining biography of Austen ever written. ISBN: 978-0679766766

This little jewel written by Pulitzer Prize-winning author Carol Shields explores the life of a writer with both sensitivity and honest personal point of view from a fellow writer’s perspective. Shield’s style is fluid and enviable. It is no wonder she admires Austen’s ability to make characters leap off the page, as I can offer her the same complement. Her observations of the personalities in Austen’s life and later biographers follows Austen’s own talent for pulling out the wit and irony of life and raising a few eyebrows. ISBN: 978-0143035169

The first official full length biography of Austen’s life, it was written from the reminiscences of her nieces and nephews. The second edition includes additional unpublished material: the novella Lady Susan , the cancelled chapter in Persuasion , fragments of Sandition and The Watsons . A must read for every Austen enthusiast, it offers us the Victorianalization of Austen’s character into the dutiful, kindly and obedient daughter who never thought ill of anyone. In today’s context, this is a bit amusing considering the wit and sometimes sarcastic comments in her letters, and the tone of some of the characterizations in her novels.  ISBN:  978-0199540778

This biography combines the best of two worlds: a family recollection and a scholarly rewrite. Carrying on the Austen-Leigh family tradition of writing about their famous ancestor, William Austen-Leigh and Richard Austen-Leigh published Life and Letters of Jane Austen in 1913. Renowned Austen scholar Deirdre Le Faye has re-written and expanded their work, culminating in a definitive biography that may very well be the best source today of accurate information on Jane Austen’s family and literary career. ISBN: 978-0521534178

Gentle Reader: In honor of JASNA’s annual meeting in Philadelphia this week, this blog, Jane Austen’s World, and Jane Austen Today have devoted posts to Jane Austen and her siblings. This is my finale post in the series.

• Cassandra Austen: Jane’ confidante, supporter and helpmate
• Jane Austen’s Siblings – Rev. James Austen 1765-1819  
• Jane Austen’s Siblings – Rev. Henry Thomas Austen 1771-1850
• Edward Austen Knight: A tightwad or a man with heavy responsibilities?
• Sir Francis William Austen: Glimpses of Jane’s sailor brother in letters
• Jane Austen’s Siblings – Charles John Austen 1779-1852
• George Austen: Jane Austen’s almost forgotten, invisible brother
• Illustrated Books About Jane Austen and Her Milieu

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14 thoughts on “ Jane Austen Biographies – Guided by Reason ”

Thank you for sharing your recommendation and reviews. I often come back to read your views when I am at the library/ bookstore.

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Thanks for these recommendations, LA! Will look them up the next time I’m at the book shop.

Hi Laurel Ann, thanks for the list:) I wonder – have you read Becoming Jane Austen by Jon Spence? It’s the only bio I’ve read of JA so far. I thought of getting Claire Tomalin to compare, once I’ve finished Jon Spence. But if you’ve read it, I’d like to know your (or others!) thoughts of the difference/worth of this bio compared to other JA ones.

Tomalin’s is more thorough than Spence’s and I also like her writing style better. Lots of historic photographs and other illustrations in Tomalin’s, too.

It’s a pity the draft of First Impression was not available. I’d love to see what has been edited out.

Bargain with the Devil

I’m so glad there’s no hint of Spence’s mendacious “biography.” Though I myself like Park Honan’s work.

Great information! I also loved Claire Tomalin’s and Carol Shield’s biographies of Jane. I have J.E. Austen-Leigh’s biography on my nightstand. I hope to read it within the next month. I hadn’t heard of the family record – I need to add that to the list!

I happened to find a like new hardback copy of Claire Tomalin’s biography at a used book sale last week. Glad to see your high opinion of it – I’m even more excited to read it!

I love Elizabeth Jenkins’ biography. It is out of print but can be easily obtained from second-hand sellers. It’s so beautifully written–the prose just sings.

Yes I have the Carol Shields and Claire Tomalin, too. Shields is excellent on literary analysis and Tomalin’s biog is brilliantly readable.

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Jane Austen: A Biography

Jane austen 1775 – 1817.

The Jane Austen Centre’s website states: ‘Jane Austen is perhaps the best known and best loved of Bath’s many famous residents and visitors.’

One wonders at the restraint in that, considering that Jane Austen is indisputably one of the greatest English writers – some say the greatest after Shakespeare – and certainly the greatest English novelist and one of the most famous English women who ever lived. The insights found in Jane Austen’s quotes from her many works is very impressive.

A mark of her genius is that she was there near the beginning of the novel’s emergence as a literary form, and all of her novels, including the earliest of them, written when she was very young, are perfectly formed. No English novelist has since bettered them and the novel hasn’t developed much since her definitive examples of the form. That is amazing when one thinks about how the other art forms –painting, music, architecture – fall out of fashion with each generation, and give way to new forms. And also when one thinks about how many novels have been written since hers.

Jane Austen – a portrait by her sister Cassandra

One has to ask why it is that her novels have lasted and are still widely read. One thing is certain: when one settles down with a Jane Austen novel one can be sure that there are going to be hours of pleasure and a lot of chuckling.

Jane Austen prods away at the social conventions of her time and how they fashion and condition the English landed gentry, the people she socialised with and whom she observed closely. She reveals the little preoccupations and concerns of the ladies and the gentlemen and the young women in those circles, and she leads us to laugh at them. Sometimes the goading is gentle and sometimes it’s savage. And every novel tells a gripping story, full of tension, with mysteries where we are kept waiting for their final resolution, when everything falls into place – very much like the best detective novels of our time.

As with Shakespeare, Chaucer and Dickens, the other main English humourists,  her characters are highly memorable. We all know Elizabeth Bennett and Mr Darcy, Emma Woodhouse and Mr Knightly, and poor little Catherine Morland. And on another level, the immortal comic characters led by Mrs Bennett and including Sir Walter Elliot, Mr Collins, Mrs Elton and Mr Woodhouse, among many others.

It is difficult to pin down what it is that Jane Austen does with language to create that combination of humour and penetrating insight. It has something to do with the way she constructs sentences – all perfectly balanced and often with a sting in the tail, and a style of narration in which the variety of points of view of the different characters tell the story. It is perhaps that latter characteristic that makes her such a modern writer – indeed, a postmodern writer – as her stories are usually told with her pretending to be the narrator, but she is not, and we fall into the trap of taking her narrator seriously. With that narrative style she is able to reveal and ridicule the manners of her society.

Her novels always have a young woman at their centre – a young woman with romantic dreams and hopes about meeting and marrying her perfect man. The heroine always does, although only after a  series of ups and downs, near misses and multiple misunderstandings.

On the surface, the novels resemble modern romantic boy-meets-girl fiction or ‘chicklit.’ Jane Austen uses that plot but her exploration of people, their class and their community while doing so goes very far beyond the novels that are read for their romantic story alone.

We have an image of Jane Austen as a spinster who lived quietly with her mother and sister and wrote her novels in semi-secrecy, hiding her pages away if she heard anyone approaching while she was writing. Most of what we know about her was written by family members after her death and so we know only the sweet, quiet, ‘Aunt Jane.’ Someone with her intelligence and sharpness must have been much more than that.

She was the daughter of George Austen, the vicar of the Anglican parish of Steventon in Hampshire. She had six brothers and one sister, Cassandra, to whom she was very close. The family did not have enough money to send her to school so she was educated at home, where she read a great deal, directed by her father and brothers Henry and James. She also experimented with writing little stories from early childhood and one can still read her juvenilia, which has been collected by various editors.

Jane Austen died on 18 th July 1817 at the age of 41. We do not have an accurate diagnosis of the cause of her death but medical researchers think it may have been the rare disease, Addison’s disease of the suprarenal glands.

Read more about England’s top writers >> Read biographies of the 30 greatest writers ever >>

Interested in Jane Austen? If so you can get some additional free information by visiting our friends over at PoemAnalysis to read their analysis of Jane Austen’s poetic works .

i m inspired by the words written about her,each line stays alive in my heart,really speaking i have not yet read her novels but in future i will

I really wonder about her intelligence. I also want to read her novels.

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The 11 best Jane Austen books, including one she wrote as a teen

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• Jane Austen (1775-1817) was an English author whose novels became timeless classics.
• We used Goodreads to rank readers' favorite Jane Austen novels.
• Her most popular classics are " Pride and Prejudice " and " Sense and Sensibility ."

Jane Austen was an English author whose novels have become timeless classics and have been adapted to films, television shows, and modern tales centuries after her passing in 1817. Loved for her astute ability to capture the beauty of ordinary characters, Jane Austen wrote beloved heroines in stories that serve as reflections of society at the time. 

To rank her most popular works, we turned to Goodreads members . On Goodreads, readers can rate and review their favorite books and share recommendations with friends. Though she only published four novels in her lifetime, two others were published posthumously as well as two incomplete tales and early stories written in her teen years. 

Whether you're a new Austen reader looking for a romantic classic or a longtime fan hoping to find your next read, here are all of Jane Austen's works, as ranked by Goodreads members.

The 11 best Jane Austen books, ranked by Goodreads members:

Pride and prejudice.

Available at Amazon and Bookshop from $8.28

" Pride and Prejudice " is Jane Austen's most popular novel, earning nearly two million five-star reviews on Goodreads and selling over 20 million copies since its publication in 1813. This novel follows the witty and fascinating relationship between the beautiful Elizabeth Bennet and the proud Mr. Darcy as they meet and fall in love through flirtatious quarreling in this heartwarming, historical romance classic.

Sense and Sensibility

Available at Amazon and Bookshop from $7.36

Adored for Austen's ability to capture a depth of emotion, " Sense and Sensibility " was Jane Austen's first published novel in 1811 and centers upon the coming-of-age stories of two sisters, Marianne and Elinor. As Marianne impulsively falls for an unfitting suitor, Elinor attempts to hide her own romantic disappointment on their search for love in a society that values status above all else.

Looking to write a headstrong heroine who "no one but myself will much like," Jane Austen created Emma, a vivid and spoiled young woman who believes she's a natural matchmaker. As Emma's meddling complicates relationships, a series of comedic romantic misunderstandings ensue in this novel adored for Emma's entertaining adventures.

Available at Amazon and Bookshop from $6.44

Eight years ago, Anne Elliot was engaged to a naval officer named Fredrick Wentworth, but ended the relationship after her friend convinced her that he was not a good match. When Fredrick returns home, Anne finds that she still deeply regrets ending their relationship in this novel that explores the strength of love and second chances. 

Northanger Abbey

Though the first of Jane Austen's novels to be completed, " Northanger Abbey " is a gothic parody that was published posthumously. It's about a 17-year-old girl named Catherine whose love of gothic thrillers angles the story towards a dark and cryptic atmosphere. When Catherine falls in love with Henry Tilney, she visits his family estate and lets the old, gothic mansion build her suspicions of nefarious hidden secrets. 

Mansfield Park

Available at Amazon and Bookshop from $3.95

At 10 years old, Fanny Price is sent to live with her wealthy aunt and uncle, The Bertrams, at their country estate, Mansfield Park. Mistreated by nearly all of her family, Fanny finds solace in the kindness of her slightly older cousin, Edmund, in this coming-of-age classic.

Available at Amazon and Bookshop from $6

Written as a series of letters from different characters, " Lady Susan " is an early Austen novel that follows Lady Susan Vernon, a flirtatious woman who is known for her manipulative and seductive ways of getting what she wants. Stuck in a difficult financial situation after the death of her first husband, Lady Susan embarks on a mission to marry off her teenage daughter and find  an even better man for herself. 

Lady Susan, The Watsons, Sanditon

Available at Amazon and Bookshop from $10.12

This collection includes the posthumously published " Lady Susan " and two other unfinished works, "The Watsons" and "Sanditon." Perfect for any Jane Austen fan hungry for more of her writing, these stories offer Austen's literary mastery in three less-frequently-read tales. 

Love and Freindship: And Other Youthful Writings

Available at Amazon and Bookshop from $5.99

" Love and Freindship " [sic] is one of several stories Jane Austen wrote in her teen years, this one at only 14 years old, written to amuse her family. Told through a series of letters from the main character, Laura, to her friend's daughter, Marianne, the story is a romantic parody about Laura's failing love life and her warnings to Marianne about the dangers of romance.

Jane Austen's Letters

Available at Amazon and Bookshop , $29.95

" Jane Austen's Letters " serves as a fascinating biography that brings Jane, her family, and her environment to life. Chronologically organized and accompanied by heavily researched annotations, Jane Austen's witty and memorable voice is revived in this collection of letters, perfect for any fan looking to explore the author's history on a deeper level. 

The Beautifull Cassandra

Available at Amazon and Bookshop from $3.42

Told in 12 short chapters, " The Beautifull Cassandra " [sic] is a miniature novel dedicated to Jane Austen's older sister, Cassandra. In this charming story, Cassandra sets off to have a perfect day through a series of slightly criminal but joyful acts. 

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Jane Austen Biography

It is said that Jane Austen lived a quiet life. Only a few of her manuscripts remain in existence and the majority of her correspondence was either burned or heavily edited by her sister, Cassandra, shortly before she died. As a result, the details that are known about her are rare and inconsistent. What can be surmised through remaining letters and personal acquaintances is that she was a woman of stature, humor and keen intelligence. Family remembrances of Austen portray her in a kind, almost saintly light, but critics who have studied her books and the remnants of her letters believe she was sharper than her family wished the public to think.

Jane Austen was born in Steventon, Hampshire on December 16, 1775 and grew up in a tight-knit family. She was the seventh of eight children, with six brothers and one sister. Her parents, George Austen and Cassandra Leigh, were married in 1764. Her father was an orphan but with the help of a rich uncle he attended school and was ordained by the Church of England. Subsequently, he was elevated enough in social standing to provide Cassandra a worthy match whose family was of a considerably higher social status. In 1765, they moved to Steventon, a village in north Hampshire, about 60 miles southwest of London, where her father was appointed rector.

Like their father, two of Austen’s older brothers, James and Henry, were ordained and spent most of their lives in the Church of England. Of all her brothers, Austen was closest to Henry; he served as her agent, and then after her death, as her biographer. George, the second oldest son, was born mentally deficient and spent the majority of his life in institutions. The third son, Edward, was adopted by their father’s wealthy cousin, Thomas Knight, and eventually inherited the Knight estate in Chawton, where Austen would later complete most of her novels. Cassandra, Austen’s only sister, was born in 1773. Austen and Cassandra were close friends and companions throughout their entire lives. It is through the remaining letters to Cassandra that biographers are able to piece Austen’s life together. The two youngest Austen boys, Francis and Charles, both served in the Navy as highly decorated admirals.

When Austen was 7, she and Cassandra were sent to Oxford to attend school but sometime later the girls came down with typhus and were brought back to Steventon. When Austen was 9 they attended the Abbey School in Reading. Shortly after enrolling however, the girls were withdrawn, because their father could no longer afford tuition. Though this completed their formal schooling, the girls continued their education at home, with the help of their brothers and father.

The Austens often read aloud to one another. This evolved into short theatrical performances that Austen had a hand in composing. The Austen family plays were performed in their barn and were attended by family members and a few close neighbors. By the age of 12, Austen was writing for herself as well as for her family. She wrote poems and several parodies of the dramatic fiction that was popular at the time, such as History of England and Love and Freindship [sic]. She then compiled and titled them: Volume the First , Volume the Second and Volume the Third .

Austen is said to have looked like her brother Henry, with bright hazel eyes and curly hair, over which she always wore a cap. She won the attention of a young Irish gentleman named Tom Lefroy. Unfortunately, Lefroy was in a position that required him to marry into money. He later married an heiress and became a prominent political figure in Ireland.

In 1795, when she was 20, Austen entered a productive phase and created what was later referred to as her “First Trilogy.” Prompted by increasing social engagements and flirtations, she began writing Elinor and Marianne , a novel in letters, which would eventually be reworked and retitled Sense and Sensibility . The following year, she wrote First Impressions , which was rejected by a publisher in 1797. It was the first version of Pride and Prejudice . She began another novel in 1798, titled Susan , which evolved into Northanger Abbey .

The Austens lived happily in Steventon until 1801, when her father suddenly announced he was moving the family to Bath. Austen was unhappy with the news. At the time, Bath was a resort town for the nearly wealthy with many gossips and social climbers. As they traveled that summer, however, she fell in love with a young clergyman who promised to meet them at the end of their journey. Several months later he fell ill and died.

Bath was difficult for Austen. She started but did not finish The Watsons and had a hard time adjusting to social demands. She accepted a marriage proposal from Harris Bigg-Wither, the son of an old family friend, but changed her mind the next day. A few years later, in 1805, her father died, leaving Jane, Cassandra and their mother without enough money to live comfortably. As a result, the Austen women relied on the hospitality of friends and family until they were permanently relocated to a cottage in Chawton, Hampshire, belonging to her brother Edward Austen-Knight. There, Austen began the most productive period of her life, publishing several books and completing her “Second Trilogy.”

Austen finished the final drafts of Sense and Sensibility and Pride and Prejudice in 1811. They were published shortly after and she immediately set to work on Mansfield Park . In 1814, Mansfield Park was published and Emma was started. By this time, Austen was gaining some recognition for her writing, despite the fact that neither Sense and Sensibility or Pride and Prejudice were published under her name.

Austen began showing symptoms of illness while she worked on Persuasion , her last completed novel. It was published with Northanger Abbey after her death. Unknown at the time, Austen most likely suffered from Addison’s disease, whose symptoms include fever, back pain, nausea and irregular skin pigmentation. On her deathbed, when asked by her sister Cassandra if there was anything she required, she requested only “death itself.” She died at the age of 41 on July 18, 1817 with her sister at her side.

Jane Austen’s Enduring Popularity

When asked why Jane Austen’s works are so popular, Richard Jenkyns, author of A Fine Brush on Ivory: An Appreciation of Jane Austen and descendant of Austen’s older brother, said: “I don’t think it’s nostalgia for the past and all those empire-line dresses and britches tight on the thigh, all that sort of thing. I guess that she is popular because she is modern… I think her popularity is in her representing a world, in its most important aspects, that we know.”

Although living in a world that seems remote in time and place, Jane Austen’s characters have experiences and emotions that are familiar to us. They misjudge people based on appearances, they’re embarrassed by their parents, they flirt and they fall in love. Her characters face social restrictions that can be translated into any environment, from a California high school in Clueless to an interracial romance in Bride and Prejudice . The critical and commercial success of the numerous recent film and television adaptations of Jane Austen’s novels, including nine of Pride and Prejudice , testifies to her timeless and universal appeal. Yet they fail to fully capture the genius of her writing. She was a great writer, a sharp wit and a wonderful satirist.

Takeoffs of Austen’s work, such as Helen Fielding’s Bridget Jones’s Diary and Clueless , have been huge successes. A number of sequels to Pride and Prejudice have been written such as Lady Catherine’s Necklace by Joan Aiken; Mr. Darcy’s Daughters by Elizabeth Aston; and Pemberley: or Pride and Prejudice Continued by Emma Tennant. Other novels such as Karen Joy Fowler’s The Jane Austen Book Club and Kate Fenton’s Vanity and Vexation: A Novel of Pride and Prejudice have contemporary settings using Austen’s characters or plots.

In The Eye of the Story , Eudora Welty wrote that Austen’s novels withstand time because “they pertain not to the outside world but to the interior, to what goes on perpetually in the mind and heart.” Perhaps, for these reasons, Austen’s work continues to fascinate, entertain and inspire us.

• Tucker, George Holbert. Jane Austen the Woman . St. Martin’s Press, 1994.
• Laski, Marghanita. Jane Austen and Her World . Charles Scribner’s Sons, 1975.
• “Jane Austen.” Concise Dictionary of British Literary Biography, Volume 3: Writers of the Romantic Period, 1789-1832 . Gale Research, 1992.

Content last updated: October 31, 2005

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6 best Jane Austen books: From ‘Sense and Sensibility’ to ‘Emma’

Whether you’re just starting out with the classic british author or are a long-term indulger, here are some of her most readable , article bookmarked.

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Ranking Jane Austen’s six witty, wise, and utterly moreish novels changes over the years. You might have found Northanger Abbey absolutely unreadable when at school, but were rendered helpless with laughter when you picked it up again years later.

Pride and Prejudice 's first line reads as clearly in French as it does in English. Sympathies for Persuasion 's Anne Elliot grow along with life experience.

The acidic humour and social observation in Austen’s work is often glossed over in favour of the romance, but the two are absolutely key to her books’ ongoing popularity. Her heroines are not meek and mild (viz Daphne “milksop” Bridgerton) but flawed and fired up by their knowledge that as women, they need to marry well to secure a future for themselves and, in some cases, their wider family.

Read more: Best historical fiction books to read if you loved ‘Bridgerton’

Lizzie Bennett might be a fan favourite for her wit and “fine eyes”, but her pride also contributes to her sister’s near-downfall. Catherine Morland’s cheerful character is nearly sabotaged by her lack of life experience, and naïve belief that life must be like the gothic novels she so adores.

If you’ve never read one of Jane Austen’s novels, you may as well throw a dart and pick one at random. They are all superb in their own ways. Now that they have been continuously in print for more than 200 years, it’s easy to forget that Austen was never credited for them during her lifetime, nor made enough money (thanks often to double standards in publishing) to feel truly independent.

While judging what makes a “best” book, however, we went for her six principal novels (if you are suitably keen, you can investigate Lady Susan and other Austen ephemera afterwards). 

Read more: Holocaust Memorial Day: The books to read, from ‘The Volunteer’ to ‘Night’

We chose based on which book most easily stands alone, beloved adaptations aside, and makes a truly enjoyable read where you can create the characters in your head, a joyful participant in Austen’s expertly-drawn world.

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But, realistically, this ranking could change depending on the year – what matters is that you have six glorious books ahead of you, to read and re-read with relish.

You can trust our independent reviews. We may earn commission from some of the retailers, but we never allow this to influence selections, which are formed from real-world testing and expert advice. This revenue helps to fund journalism across The Independent. 

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‘Persuasion’ by Jane Austen, published by Penguin Classics

Published six months after Austen’s death in 1817, Persuasion was named by her brother Henry. Anne Elliot is an unlikely heroine by the standards of the romantic novels of the time, being 27 and thus – gasp – practically dead by the standards of the Georgian marriage market. At 19, she was persuaded by relatives to end an engagement to a young naval officer, Frederick Wentworth, by dint of the fact he had no prospects. In the present day, her spendthrift family have been persuaded (this time by sensible Anne) to rent out their home and take temporary lodgings in Bath, where Anne encounters Wentworth, now a rich and successful Captain.

She still loves him, but can he forgive her for being persuaded to end their engagement? Several extremely neat plot twists from Austen force them further apart before becoming reunited and the yearning of both characters – older, wiser, and regretful – is utterly compelling. Austen, who experienced her own regretful near-misses in love, brings about a masterful conclusion that wasn’t to be hers. One hopes that she would instead be quietly satisfied at being one of the world’s best-known and best-loved authors two centuries after her death.

‘Pride and Prejudice’ by Jane Austen, published by Wordsworth Classics

So embedded has the drama between Elizabeth Bennett and Fitzwilliam Darcy become in all levels of pop culture that you could feel as though you had read it countless times when you’ve only seen parodies. But even if you have seen the exquisite Andrew Davies BBC adaptation (now wedded to Netflix) a million times, there’s plenty that’s new to lap up by going back to the book.

Not only that peerless first line – “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife” – but the extra joy from being in Austen’s capable hands, and words, for the duration of the story. As beautiful as the TV version, it was nothing compared to being carried along with Austen’s observations. That is an experience as delightful as being in the company of your cleverest, kindest, and most devastatingly shrewd friend.

‘Northanger Abbey’ by Jane Austen, published by Vintage Classics

This was the first novel that Austen finished writing but due to being caught up by the world’s slowest publisher, was only published after Austen had bought the copyright back – and then died. It is an absolute riot: a dry pastiche of gothic and romance novels that both celebrates, and rolls its eyes at, youthful credulity. It is less immediately accessible, simply because it really benefits from having read books featuring dewy-eyed and slightly dim heroines.

At 17, Catherine Morland is one of 10 children born to a clergyman, and fancies herself “in training for a heroine,” having spent her teens inhaling popular Gothic novels of the time. Austen neatly subverts Catherine’s expectations while ticking off all the plot points of a Gothic romance: from the titular Abbey (annoyingly un-terrifying) to a ghoulish nemesis, a broken engagement, and betrayed confidences. Yet Austen, as ever, keeps the main problems out of fantasy and closer to home. Money is the root of all problems, but fortunately for Catherine, the heroine wins out in the end.

‘Emma by Jane Austen, published by Penguin

Austen flips her tried and trusted financially-troubled heroine narrative with Emma Woodhouse, a filthy rich only child who is the very incarnation of Cher saying, “But mother, I AM a rich man?” Blessed with good looks, charm, and no need to marry, Emma enjoys a life being adored by the minions in her neighbourhood, teasing her childhood friend Knightley, and making matches between any suitable young people who cross her path. 

Her enjoyable life playing dolls with people’s lives and fortunes comes to a juddering halt when she makes some unforgivable errors with a beloved local spinster, and a new young visitor, and comes to realise that through these she runs the risk of losing her own true happiness. Austen is in especially waspish form, directed mostly through Emma’s speech. The own goals, when they come to Emma, are humbling but all pursuant to a very satisfying ending. A hugely enjoyable read about the perils of being too clever by half.

‘Sense and Sensibility’ by Jane Austen, published by Folio Society

Elinor and Marianne Dashwood have cracking names but nothing in the way of a dowry to attract a husband now that the family’s wealth has fallen to their brother and his hideous wife. While sensible Elinor pines after her lost love, Edward Ferrers, dreamy Marianne falls in love with the sexy, flighty Willoughby, whose dramatic tendencies Austen shades wonderfully: “He then departed, to make himself still more interesting, in the midst of a heavy rain.” While none of Austen’s novels are frothy – it’s a serious misnomer that anything with a bonnet must therefore be stupid – Sense and Sensibility ’s darker moments weigh especially heavy because they are so tiring and so familiar to many readers.

The weight of family duty on a woman’s shoulders, when others have no idea of its heft, at a time when a woman must rely on the kindness of others if the burden is ever to be eased. And if Marianne’s marriage to the much-older Colonel Brandon feels a bit of a climbdown after her passionate love of Willoughby, well – at least he’s a decent sort with plenty going on under the surface. And yes, that is a bit of a “meh” and a shrug, but not everything in life can be Alan Rickman.  

‘Mansfield Park’ by Jane Austen, published by Chiltern Classic

Last place is so unfair, so consider this instead “First place, and then the rest of them”. Austen upended more of her familiar heroine traits for M ansfield Park in Fanny Price, who at first glance is the strange, silent mouse to her glamorous adoptive family’s charming parade. Used to a bright, witty and desirable heroine, the reader can feel uneasy at the young girl who, at 10, is given to a rich uncle’s family to be raised and spends the years until she comes of age being mercilessly teased and insulted by various relations and glamorous friends who cannot understand her.

Not pert or bright, or quick with a word or a joke, Fanny Price stays in the shadows, observing until she is able to live. She is treated as nothing, but through the course of the book shows that the moral core that runs through her makes her anything but. Much has been written about Fanny Price, but the best thing to do is to read her.

The verdict: Jane Austen books

Everyone has their own measure of what makes their best Jane Austen book, and Persuasion is ours. We call it her best novel, and our best buy. 

Once you’ve raced through Austen’s back catalogue, you can try Anthony Trollope for more shrewd tales of village life and expertly caricatures. For pure comfort from a later period, but similarly sharp and engaging writing of women fallen on hard times, try Winifred Watson’s Miss Pettigrew Lives for a Day , and The Blue Castle by LM Montgomery. Both as enchanting as any of Jane Austen’s heroines.

And if you want the author whom Harper's Bazaar hailed as “the Jane Austen of our time” then head immediately for Jilly Cooper, and her series of romances named after heroines. Imogen and Harriet are especially heavenly.

Find your next favourite read among our round-up of the best historical novels

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The alternative jane austen, recommended by devoney looser.

The Making of Jane Austen by Devoney Looser

Thanks to her ability to be many things to many people at once, Jane Austen is one of the vast minority of writers who manage to be both eternally popular and canonical. Here, Austen scholar Devoney ‘Stone Cold Jane’ Looser presents alternative Austens, from subversive youngster to video-game heroine

Interview by Thea Lenarduzzi

Jane Austen's Manuscript Works by Jane Austen

Jane Austen in Context by Janet Todd (editor)

Jane Austen: Women, Politics, and the Novel by Claudia L. Johnson

Jane Austen: A Life by Claire Tomalin

Jane Austen's Textual Lives: From Aeschylus to Bollywood by Kathryn Sutherland

1 Jane Austen's Manuscript Works by Jane Austen

2 jane austen in context by janet todd (editor), 3 jane austen: women, politics, and the novel by claudia l. johnson, 4 jane austen: a life by claire tomalin, 5 jane austen's textual lives: from aeschylus to bollywood by kathryn sutherland.

S urely every Jane Austen interview needs to begin by asking: what would the literary equivalent of your final meal be? Which of the novels is the best? Actually, that might be two different questions.

It deals with illness, hypochondria, and some things that you can see must have been incredibly hard for her to mull over and write about –  and make jokes about – while she herself was not well. I’m sure that’s not the answer you necessarily expected – I don’t think it’s her greatest work of art – but I find it so moving to think about that text in her bicentenary year.

Our topic is ‘Alternative Austen’ which implies, of course, that there’s a primary, conventional Austen that needs somehow to be worked against. Could you sketch what that is and how it came about?

There have long been competing Austens. So, when I’m giving you this conventional version, this isn’t as if it’s what everyone has thought. There were always people who were debating ‘What kind of a writer is she?’, ‘Who is she?’, ‘How do her writings work on us?’, ‘How should we understand her life?’, and so on.

But the overarching conventional version of Austen has been, I think, often quite staid. It’s been very polite. It’s been the tea-drinking, bonnet-wearing and safe-attractive version of Regency life that was not even Jane Austen’s reality.

This is where I think Claire Tomalin’s biography of Austen is really so important. That biography, which is now, of course, no longer new – it’s 20 years old – shifts us away from this sense of Austen having lived a life of little event. That was the conclusion many had drawn from Victorian family accounts of her, for example, that suggested there was really nothing much of interest to tell.

As you said, her image has hardly been a stable one. In Jane Austen’s Cults and Cultures (2012), Claudia L. Johnson argued that there were four critical phases of reception shaping the way we see Austen and her writing, and there’s a common view that she only really became a celebrity figure at the end of the 19th century.

I love Claudia Johnson’s Cults and Cultures . I find that book immensely inspiring, although the one I chose to recommend today is her first book. But I would take issue with part of the received wisdom that you mentioned in your question, which is that Austen’s fame didn’t get rolling until the very late 19th century. I think that story is actually overstated quite a bit. That’s one of the things that I’ve been very interested in writing about and researching: this myth that has it that before 1870 no one knew Austen, and then the nephew James Edward Austen-Leigh writes a memoir of her and she’s suddenly famous everywhere. I just don’t think that’s accurate.

“The conventional version of Austen has been often quite staid”

Regardless of where we date the start of this cult of her, though, the kinds of stories that we have told have always tended to caricature her in strange and limiting ways. Johnson’s Jane Austen’s Cults and Cultures gets at that point brilliantly.

There’s a tendency to confuse her with her characters.

Yes. There is a period in the late 19th century, too, when she was imagined as most like her heroine Elizabeth Bennet, both seen as the perfect wife. There’s a quote by George Saintsbury, who says that among literary protagonists, Elizabeth Bennet is the best one ‘to live with and to marry.’ I love that: not just to live with, not just to marry, but both! That’s a late 19th-century/early-20th-century kind of male fantasy attaching to Austen’s heroines and, for some, to Austen herself, as Elizabeth’s creator.

It’s funny that that’s going on at the same time that she’s being imagined as this safe, chaste old maid, or as a proto-feminist role model. And it’s hard to figure out how these images could be held at the same time. But obviously they were, by different people.

And what attracted you to her and her work?

My mother first tried to get me started on reading Jane Austen when I was in my early teens. I think this is a fairly common story; many girls especially discover Austen in their teens, through a family member. My mother handed me a Modern Library edition of Pride and Prejudice and Sense and Sensibility bound in the same book. I started it three times but got stuck with the language. My mother was very insistent and said ‘I really think you’re going to like this one.’ I loved to read books, but this one didn’t take immediately.

The third time I was finally able to get through what had seemed impenetrable language and see some things that were engaging and funny. I don’t think I understood the irony or the social criticism, but I got that there were some pretty amazing things going on, and the characters really grabbed me.

Let’s turn to your five books and begin at the beginning – with the words of the woman herself. You have chosen Jane Austen’s Manuscript Works (2012) edited by Linda Bree, Peter Sabor and Janet Todd. What do we find here?

I didn’t recommend any of Austen’s full-length novels, because my assumption is that readers can very easily discover those on their own at this point. But if you’ve exhausted her six novels, or decided that you’ve read as much of those as you want to, then Manuscript Works is really one-stop shopping for everything else by Austen that’s interesting.

It includes just a smattering of her letters, so if you’re really looking to go into those then this isn’t the right book for you. (There you’ll either want Deirdre LeFaye’s Jane Austen’s Letters or the Selected Letters edition from Oxford University Press, edited by Vivien Jones.) But in terms of her other fiction, everything is here in Manuscript Works , from early to late.

I love the juvenilia, which is so spirited and snarky, and the later unfinished works are here, too, like Sanditon . But Lady Susan is one that if you’ve haven’t read, you really owe it yourself to do so. There’s a lot there to chew on. The film version of it that Whit Stillman brought out last year is fantastic. He retitled Lady Susan into ‘Love and Friendship’ which is a little confusing, because Austen also wrote a good juvenilia story called Love and Freindship [dated 1790], and the film is not that. It’s an adaptation of Lady Susan . If you’ve seen Kate Beckinsale in Love and Friendship then you’ll definitely want to read Lady Susan , which is what Stillman’s film was riffing on.

And what is so special about Lady Susan ?

Lady Susan is definitely alternative Austen. If we imagine Austen’s stories as about young women coming into the world and finding out it’s dangerous and unfair and trying to make their way through various social structures, then Lady Susan turns that on its head. It shows us a woman who is herself of the world, who is herself dangerous. She’s a widow who is very ambitious for herself and her daughter, and very canny.

After her husband dies, Lady Susan has more social status than money, but she’s starting to jeopardize her stature by getting a reputation for sexual involvement with men. So, she is a kind of a ‘Merry Widow’ figure, as we understand that type from literature. But because the story is told in letters, you’re put into her mind, and you’re put into her psychology in a way that invites you to see it from her perspective, to sympathize with what a once-rich widow would have faced in a culture that really didn’t offer her a lot of opportunities to be powerful, other than using her sexuality.

It shows a side of Austen that is less mass-market: slightly more salacious, cruder, naughtier. The early writing is very rich in that, isn’t it? Kathryn Sutherland wrote in the introduction to a three-volume edition of the juvenilia (2014), that Jane Austen’s earliest writings are “violent, restless, anarchic and exuberantly expressionistic. Drunkenness, female brawling, sexual misdemeanour and murder run riot across their pages.”

Absolutely. The phrase ‘alternative’ really works well for this body of writings. Lady Susan , understood as a later effort rather than juvenilia, is deliciously nasty. But there are all these precursor texts that Austen wrote in her teens – which is just amazing – that play with literary conventions but also with social conventions about propriety and politeness.

Did she mellow as she grew older? Or did she get better at controlling and channelling her impulses?

This is a question that has been answered in a lot of ways. My feeling is that she started to write with a different kind of public in mind. I really think it’s an authorship and a genre question. But there are certainly critics who approach this question and decide that Austen’s true beliefs were evident in her earlier more playful, anarchic, impolite texts. By this version of things, either she felt she had to tone down her writing in later life, hiding her true beliefs, or she was forced to do so.

There are critical versions of that trajectory that see it as a sad comedown from an exciting beginning. Or they see it as proof of her growing more conservative as she aged. I don’t think these are the only interpretative options. I don’t think we have to see this in terms of psychology; I think we can see it in terms of audience.

Let’s move on to the next two books, which complement each other nicely. These are: Janet Todd’s edition of essays by various contributors, Jane Austen in Context (first published in 2005), and Claudia L. Johnson’s Jane Austen: Women, Politics, and the Novel (first published in 1988). Let’s start with the Todd book which paints a pretty detailed picture of the life and times of the author.

To me that collection of essays is the best option for someone seeking a strong foundation in Austen as she’s understood today. If you’re looking for a book on Austen that’ll blow your mind, this is it. Janet Todd has assembled some of the best Austen scholars in the world and had them each write short, original essays in an accessible form. Contributors describe the state of knowledge and debate on Austen’s biography, reception history, illustration history, book production, sequels, and translations, to name just a few of my favourite chapters.

I also really like Margaret Kirkham’s section on Jane Austen’s portraits. Austen’s portraits are such a fraught topic and source of vigorous debate – which ones are really her? Which ones might be her? Which ones aren’t even worth arguing about? Kirkham walks us through, in a portrait-by-portrait way, how to make sense of these debates, describing the provenance of particular images; it’s a matter of how to assess these portraits and the known evidence, without concluding ‘this one just must be her’. It’s a measured approach that’s both factual and exploratory.

“Austen’s fiction works to makes us collude with her politics, wanting certain kinds of change, often without realising that that’s what we’re being asked to do”

A lot of the chapters in Todd’s Jane Austen in Context take that kind of approach: here are the debates. Here’s what we know. You draw your own conclusions. The critics don’t hit us over the head with ‘here’s the only way to think about these things.’

And there’s the great alphabetical reference section where you’ve got entries on everything from Agriculture, Book Production and Cities to Trade, Transport, and so on.

How engaged was Austen with the issues of her day? There’s a new-ish trade in books that claim she was a radical feminist or a radical this that and the other – which perhaps over-states it a bit, but still…

I should say first that the stereotype of her being apolitical seems to be long gone. We’re no longer having that conversation, and I’m really grateful for that. How could she live through the French Revolution and Napoleonic Europe, with brothers who were serving in the military, without feeling very invested in what was going on in the world around her? Tomalin’s biography made us see that Austen wouldn’t have had to travel beyond England to understand world events and feel compelled by them. I think the novels show that implicitly.

Obviously, then, the novels are quite political. Claudia Johnson’s book argues that in a way that remains compelling. Ultimately, Johnson sees Austen as a liberal who was interested in reform. The evidence Johnson brings to bear, by comparing Austen’s fiction to that of her fellow novelists, is very convincing to me.

I’m sceptical of more recent arguments that Austen was a revolutionary, although I believe there are many moments in her fiction that demonstrate sympathy with revolution and change. Still, I don’t see Austen suggesting that we overthrow social structures, certainly not in a violent manner, which is how I understand the word “radical.” A lot of revolutionaries in her time would have seen overthrowing social structures as the best way forward. That’s not what Austen is going for in her writing.

What Claudia Johnson says, in a really beautiful way, is that Austen sympathises with the philosophy of many of the revolutionary writers of her own time – Mary Wollstonecraft among them – but that instead of depoliticising their arguments in her fiction, Austen de-polemicises them. That is, she keeps their philosophical thrust but makes them seem palatable, almost second nature. Austen’s fiction works to makes us collude with her politics, wanting certain kinds of change, often without realising that that’s what we’re being asked to do. In that sense, I would see Austen as more invested in reform than in revolution. Her fiction brings readers gradually toward concluding that progressive change is desirable and reasonable.

Johnson’s book takes the novels and, as you said, she finds the more subtle arguments and suggestions in them. So, in Northanger Abbey she domesticates the gothic. And in Emma, she works on female authority. Can you give an example of Johnson’s approach?

Her Northanger Abbey chapter is incredibly persuasive. Johnson says that we shouldn’t read Henry Tilney or Catherine Morland as author surrogates. She talks about how Northanger Abbey takes the gothic and gives it a progressive turn. Austen makes us see that the guardians of authority – General Tilney and some of the other adults: the national, domestic, and even religious authorities – are negative, destabilising figures.

The way that she puts it is that Northanger Abbey considers “the authority of men and books, women’s books in particular, and suggests how the latter can illuminate and even resist the former.” Some Austen criticism — in an ungenerous mood I would call it lazy criticism – will just announce that ‘Austen is innovative’ or ‘Austen is a genius’ or ‘Austen is…’ – whatever political term they want to put there – ‘…progressive/conservative,’ without really showing us any evidence of what that means in a range of writings from her own time.

Let’s talk about Claire Tomalin’s

biography. You have referred to this a few times already so it’s clearly very important here. What alternative vision does it bring us of our dear Jane?

Tomalin’s is still my favourite among all Austen biographies, and there are some really good ones. What I like about hers is that it shows us, in the context of crucial family, literary, and social context, that Austen was tough; that she was unafraid; that she was in an environment of difficulty and distress – even crisis – through parts of her life.

For example, Tomalin was one of the first to make sense of the beheading of her cousin’s husband – the Comte de Feuillide – and what it meant that her cousin Eliza was enmeshed in that revolutionary moment in that close proximity. She also digs into what it meant that Eliza, who was a flirt and apparently a very charismatic woman, returned to her English family and ended up marrying, in her second marriage, Jane Austen’s banker brother, Henry. (E. J. Clery has just published a biography from this vantage point, Jane Austen: The Banker’s Sister . )

These kinds of details and events were talked about in previous biographies, but what Tomalin did was the deep research, the clear, engaging writing, and the psychological exploration that allowed us to see that Austen was not “in smooth water all of [her] days”, as Admiral Croft’s wife puts it in Persuasion . Jane Austen, too, I think, wouldn’t have expected to be in smooth water all of her days, and Tomalin shows us that she just wasn’t.

Austen grew up in Steventon Rectory, where her clergyman father also took in male pupils as boarders, so she was growing up in a household of boys – some her brothers, others unrelated students. Tomalin looks at what that might have meant for her childhood. All of these things are brought forth in the biography in a way that is not sensationalised, which would certainly be a temptation with a lot of this material. But Tomalin does it all in a way that is very engaging and well-researched.

Where did Tomalin conduct most of her research? There aren’t as many primary sources as one might think – many of her letters were burnt by her sister Cassandra, for one thing.

Tomalin worked in the Hampshire Record Office, the British Library, Kent County Archives; she worked with some French archival materials, bank ledgers, and family papers. You can see this in the bibliography section of her book and in her notes. She’s worked principally with previously published material. She wasn’t necessarily the first to use the unpublished materials she consulted. But I think she put the whole together with a new and moving depth.

I looked up the review of Tomalin’s book in the TLS archive to see how it was received. Simon Jarvis considered it alongside A Life by David Nokes and considered the magnitude of both authors’ undertaking, in light of how difficult it is to gauge tone in the Austen letters that do still exist: “It is sometimes hard to tell whether a given sentence reflects Austen’s sincere interest in the details of domestic life, or barely concealed rage at the restricted milieu in which her intelligence must find ways of surviving.” He quotes, as an example, one where Austen says: “you know how interesting the purchase of a sponge cake is to me.”

That’s just fabulous. I can’t read that line without laughing, but you’re right (or Jarvis is right) that it may be a laughter born out of rage. Nokes’s biography is, to my mind, a bit over the top. I do know some Austen specialists who prefer the Nokes biography to all others. It seems to me that it was written really more with the screen in mind. When I called Tomalin’s biography less sensational, I think Nokes is the one I had in mind as more sensational. Sometimes it seems he’s going for the gory detail and is approaching story-telling in a more melodramatic way. It’s a perfectly viable way to tell a story, although some of the fictionalising and imagining Nokes uses is less to my taste. That’s why I prefer Tomalin’s biography in the end.

I think Nokes himself said that he approached the book as though he were writing a novel.

Which leads us to your last book which is Jane Austen’s Textual Lives: From Aeschylus to Bollywood (2005) by Kathryn Sutherland. Here we get a clear sense of the variety of afterlives.

It’s hard to underestimate the importance of this book to re-envisioning Austen’s reputation. Sutherland herself went on to create the Jane Austen fiction manuscripts site which allows readers to compare manuscripts to the transcriptions, and to look at the ways that the surviving writings show marks of process or of stopping and starting.

A negative stereotype of literary scholars is that we’re over-invested in every little comma and dash. The force of Sutherland’s book is in showing us that, especially with Austen, it’s not the right stereotype to have in mind. When you approach Austen from the level of each dash, comma, and crossing-out, and look for patterns, you might reach amazing insights. Sutherland’s book gave us new ways to use Austen’s text and texts that came after hers to make sense of her history and her reputation.

Early on, Sutherland says: “my concern is with Jane Austen’s textual identities as a means to explore the wider issue of what text is and what it means to stabilise and destabilise particular definitions of text and particular texts”. So, this is a heavy book. It’s not the easiest reading. But it really repays close attention, helping us think about the ways that Austen’s own writings – and their reprintings – helped to manufacture her reputation and how we think of her as an author and as a person.

What did the development of English studies, which started in the early 20th century, do for Austen?

Sutherland’s argument (and others have talked about this as well) is that R W Chapman, when he approached the editing of Austen in the 1920s, was giving us the first standard edition of the work of any novelist. You’ve got to bear in mind that textual studies had been more allied with classics, with ancient texts by men. The idea that Jane Austen could be worthy of this level of textual scrutiny represents an interesting moment in English scholarship and English studies.

“Print Settles It” is one of the titles of Sutherland’s chapters and I love this idea of print as settling or unsettling for Austen. Sutherland has a whole section on Austen’s use of commas and what editors did (or what we suspected editors may have done) with some of her idiosyncratic textual practices.

The 1920s was an interesting period for Austen because the Austen family was still managing her estate and they were peddling a very different version of her at that time – they were milking the sentimental sweet-lady-novelist stuff; and then, along comes this contemporary scholarly edition. Was Chapman trying to recalibrate our image of Jane Austen?

Yes, definitely. He was trying to make her an object of serious study, as opposed to twee dilettantism. One of the things that Sutherland mentions, though not at great length, is that Chapman’s wife – née Katharine Metcalfe – was actually quite involved in the editing of Austen’s works, before and after she married Chapman. She was a collaborator. So, Mr and Mrs Chapman worked together. And when she was Katharine Metcalfe in the early 1900s, she was the one who first published an edition of Austen that showed careful textual work. Returning that to the story is an interesting thing to do and Sutherland opened it up for us. (Janine Barchas has a fascinating essay on Katharine Metcalfe Chapman in a recent issue of Review of English Studies .)

In my own work, I’ve been finding ways that I think the Chapmans, or Metcalfe-Chapmans, were themselves drawing on earlier textual editors as well. There’s a woman named Josephine Heermans in Kansas City, Missouri, who was doing some of the same kind of editorial finessing in school editions just before the Chapmans. The history of school editions in conjunction with the scholarly editions is one that we can tell better. We couldn’t have even started this avenue of exploration without what Sutherland offered us.

At the heart of this book is also this seemingly contradictory image of Jane Austen as someone who manages to be both popular and canonical at the same time. Few authors manage that.

Yes. Sutherland’s book has been very inspiring to me, too, because she defines “text” as principally manuscript, print, and then film. That emphasis made me think about other kinds of “text” that we might bring into the conversation, like illustrations, dramatizations, and things that we may not have records of. All of these things contributed to the shaping of Austen’s reputation.

Again, I don’t think these are conversations we could even be having today without Sutherland showing us how important it is to attend to these seemingly miniscule elements, using them to chart out a bigger, deeper, fascinating picture of how Jane Austen has come to matter to us.

And she’s good on the screen adaptations as well, isn’t she, which seems important given that, these days, that’s probably how many people first get to know Austen. What do you think the mood – or prevailing trend – is at the moment, with film adaptations? Which direction do you think Austen is heading?

Sutherland calls one chapter “Film as Textual Future”, and I love that. I think that’s spot on. Other textual futures have emerged in the years since she published this book, in 2005 — things we couldn’t have ever envisioned – like Jane Austen videogames. There is now a massive multiplayer online role-playing game called Ever, Jane . That’s not really something many people would have envisioned as a textual future!

What does the game involve?

The woman who’s putting this game together – Judy Tyrer – has talked about how she’s struggled to meet the needs of those who are most attracted to the polite versus the impolite parts of Austen’s world. The result is a sort of ‘Jane Austen Second Life’.

Tyrer has struggled, too, with what to do with the people out there with bad intentions: the pirates and others up to no good. So, I think she’s structuring the game in ways that will allow for people who come with these various impulses to all find in the game the thing that they’re looking for.

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Of course, many parts of Austen’s wider appeal have to do with the polite manner-focussed interactions and dancing and things that we imagine that are very controlled and overlayered with meaning. They might be fraught in their own way, but largely they have very little risk of death!

I’m enjoying the idea of there being a level that you only pass if you manage to express yourself in a particular, polite and fashionable way, with just the right inflection and wearing just the right gown. If your manners go askew, you won’t get to go to dance and you’ll end up marrying the wrong man. Game Over. That sounds brilliant.

Exactly. I think it’s fabulous. I’ve heard Judy speak about the game, and I just think she’s doing really interesting and exciting things.

Then you also have the Pemberley Digital vlog series and the ‘Welcome to Sanditon’ series of a few years ago, in which they asked viewers to make videos of themselves as characters and insert themselves into a contemporary retelling of the story. That’s another amazing textual future, which is also a kind of film future, if you will, for Austen and her devotees. We know about all the print continuations of Austen’s novels (known as JAFF: Jane Austen Fan Fiction), but ‘Welcome to Sanditon’ is a really innovative video-based continuation, where you upload an interview with yourself as part of the story.

I like Pemberley Digital’s own stories better; I’m not sure ‘Welcome to Sanditon’ was 100 per cent successful as a gripping experiment in crowdsourcing Austen-based vlogs. What people uploaded varied in quality. ‘The Lizzie Bennet Diaries’ is a much more entertaining viewing experience, compared to some of the things that amateurs produced. But it’s all pretty cool.

It’s a ridiculous question but I’ll ask it anyway: where do you think Austen will be in another 200 years?

I’m hopeful that we will still care about her and her novels. I think that, if we do, that will say something great about the human future, because I think Jane Austen now and in the past has posed provocative questions about how to live a meaningful life in a world that can be deeply unfair.

The beauty of her novels is that instead of giving us a lot of pat answers, and then hitting us over the head with some moral lessons, they present things in a way that is a bit more open-ended. The bad characters don’t necessarily all come to outrageously bad ends. Some of them get a slap on the wrist or the promise of living in a private hell of their own making. That we can look at the social structures she presents so minutely and see ways that a person can make choices and manoeuvre in them – even though they aren’t our structures any more – is why the novels still speak to us.

So, in 200 more years, I think she’s still going to be with readers. I think that that is ensured as long as Austen continues to travel and engage with whatever new media emerge, as long as she morphs into whatever the next popular form or trend is. If that’s the case, then she’ll have ways to seem hip, fresh, and new, as well as admirably old and classic.

Regardless of how she fares in new media and with popular audiences of the future, I would hope critics will continue to understand the value of what she produced – its beauty, its artistry and its craft. I’m less worried about that continuing, actually; any future scholars who are interested in the history of the novel will have to care about Jane Austen, if only because of the magnitude of the reputation she once enjoyed.

July 17, 2017

Five Books aims to keep its book recommendations and interviews up to date. If you are the interviewee and would like to update your choice of books (or even just what you say about them) please email us at [email protected]

Devoney Looser

Devoney Looser, Professor of English at Arizona State University, is the author or editor of seven books, most recently The Making of Jane Austen , a Publishers Weekly 'Best Summer Books' choice for 2017. Her recent writing has appeared in the Atlantic , the TLS , the , the Chronicle of Higher Education and Entertainment Weekly . She has also played roller derby as Stone Cold Jane Austen. Follow her @devoneylooser

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All Jane Austen Movies Ranked by Tomatometer

Jane Austen books may have been around for centuries now, but in the movie world she’s as popular as she’s ever been. Austen’s mastery of irony combined with her scintillating insight and ability to mine for humor in relationships has made her novels resonate well past her lifetime and into the cinematic medium that would rise 100 years after her death.

The first significant (and surviving) adaptation was 1940’s Pride and Prejudice , starring Greer Garson and Laurence Olivier, with the screenplay co-written by Aldous Huxley. Pride has been adapted the most out of Austen’s books, including as the Bollywood-style Bride & Prejudice , and most recently in 2005 with Keira Knightley. Sense & Sensibility , Mansfield Park , and Lady Susan  – a.k.a.  Love & Friendship  – have had one theatrical movie adaptation each. Meanwhile, Emma has had two direct adaptations: The 1996 version starring Gwyneth Paltrow, and this week’s Emma. , starring Anya Taylor-Joy.

Before we see where Emma. (note the period) lands on our Tomatometer on Monday, we’ve ranked all Jane Austen movies by their score.

You won’t find the famous BBC miniseries of  Pride and Prejudice in this list – we’re sticking strictly to theatrically releases. But we  are  opening it up to modernizations and looser adaptations, including Clueless (based on Emma ), Material Girls and From Prada to Nada (both borne out of Sense and Sensibility ), and Bridget Jones’s Diary (based on  Pride and Prejudice ). And because Austen fandom has evolved into a lifestyle and state of mind, we’re including movies like Austenland , The Jane Austen Book Club , and Becoming Jane .

So, get ready to dive into a world of sharp tongues and full hearts with our guide to every Jane Austen movie, ranked by Tomatometer. — Alex Vo

Material Girls (2006) 4%

From Prada to Nada (2011) 24%

Austenland (2013) 32%

Pride and Prejudice and Zombies (2016) 47%

Becoming Jane (2007) 58%

Bride & Prejudice (2004) 64%

Pride & Prejudice (2003) 66%

The Jane Austen Book Club (2007) 66%

Mansfield Park (1999) 78%

Clueless (1995) 81%

Bridget Jones's Diary (2001) 80%

Emma (1996) 84%

Pride & Prejudice (2005) 87%

Love & Friendship (2016) 96%

Sense and Sensibility (1995) 97%

Pride and Prejudice (1940) 100%

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60 love quotes for him that will warm his heart

Love is notoriously difficult to describe.

To borrow a line from “Persuasion” by Jane Austen, “If I loved you less, I might be able to talk about it more.”

If you struggle to find the words to express your love, you're far from alone. Many artists and writers have dedicated their entire careers to capturing that sentiment.

Luckily, that means you have a wealth of material to draw on for your next message to your husband , boyfriend, or beau.

From literature to song lyrics, you can find the perfect romantic quote that will make your sweetheart swoon.

Add a tender love song like Alicia Keys' “If I Ain’t Got You” to your shared playlist, or sing the lyrics live to your hubby. (He'll either love it, or laugh — either way you'll make his day.)

Impress your film buff boyfriend with famous love quotes from movies . Who doesn't adore the iconic line "When you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible" from "When Harry Met Sally"?

Your beloved bookworm will cherish a sweet text from you with a quote from one of literature's greatest love stories.

Here are some of the best love quotes for him from books, movies , and music.

Best love quotes

• “In all the world, there is no heart for me like yours. In all the world, there is no love for you like mine.” — Maya Angelou
• “I hope it’s okay if I love you forever.” — Ally Maine, “A Star Is Born” 
• “Nobody has ever measured, even poets, how much a heart can hold.” — Zelda Fitzgerald
• “For it was not into my ear you whispered, but into my heart. It was not my lips you kissed, but my soul.” ― Judy Garland
• “Love makes your soul crawl out from its hiding place.” — Zora Neale Hurston

• “If I had a flower for every time I thought of you...I could walk through my garden forever.” — Alfred Tennyson, “Queen Mary” 
• “If you remember me, then I don’t care if everyone else forgets.” ― Haruki Murakami, “Kafka on the Shore”
• “If you find someone you love in your life, then hang on to that love.” —   Princess Diana
• “Love is but the discovery of ourselves in others, and the delight in the recognition.” — Alexander Smith
• “This is the miracle that happens every time to those who really love: the more they give, the more they possess.” — Rainer Maria Rilke

• “Never mind. The self is the least of it. Let our scars fall in love.” — Galway Kinnell
• “To love and be loved is to feel the sun from both sides.” — David Viscott
• “A flower cannot blossom without sunshine, and man cannot live without love.” — Max Müller
• “Love is our true destiny. We do not find the meaning of life by ourselves alone — we find it with another.” — Thomas Merton
• “Love is that condition in which the happiness of another person is essential to your own.” — Robert A. Heinlein

Love quotes from movies

• “You are my greatest adventure.” — Mr. Incredible, “The Incredibles”
• “I like you very much, just as you are.” — Mark Darcy, “Bridget Jones’s Diary”
• “That moment, when you kiss someone and everything around becomes hazy and the only thing in focus is you and this person and you realize that that person is the only person that you’re supposed to kiss for the rest of your life.” — Josie Geller, “Never Been Kissed”
• “You had me at ‘hello.’” — Dorothy Boyd, “Jerry Maguire”
•  “What do you want? You want the moon? Just say the word and I’ll throw a lasso around it and pull it down.” ― George Bailey, “It’s A Wonderful Life”

• “When you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.” — Harry Burns, “When Harry Met Sally”
• “I’m just a girl, standing in front of a boy, asking him to love her.” — Anna Scott, “Notting Hill” 
• “The heart is not like a box that gets filled up; it expands in size the more you love.” — Samantha, “Her” 
• “To me, you are perfect.” — Mark, “Love Actually”
• “I’m scared of walking out of this room and never feeling the rest of my whole life the way I feel when I’m with you.” — Baby Houseman, “Dirty Dancing”

Love quotes from books

• “I fell in love the way you fall asleep: slowly, and then all at once.” — John Green, “The Fault in Our Stars”
• “I swear I couldn’t love you more than I do right now, and yet I know I will tomorrow.” — Leo Christopher, “Sleeping in Chairs”
• “In case you ever foolishly forget: I am never not thinking of you.” ― Virginia Woolf, “Selected Diaries”
• “You should be kissed and often, and by someone who knows how.” ― Margaret Mitchell, “Gone with the Wind”
• “Love is not just looking at each other, it’s looking in the same direction.” ― Antoine de Saint-Exupéry, “Wind, Sand and Stars”

• “Who, being loved, is poor? Oh, no one. I hate my riches. They are a burden...” ― Oscar Wilde, “A Woman of No Importance”
• “I am nothing special, of this I am sure. I am a common man with common thoughts and I’ve led a common life. There are no monuments dedicated to me and my name will soon be forgotten, but I’ve loved another with all my heart and soul, and to me, this has always been enough..” ― Nicholas Sparks, “The Notebook”
• “I wish you to know you have been the last dream of my soul.” — Charles Dickens, “A Tale of Two Cities”
• “You are my heart, my life, my one and only thought.” ― Arthur Conan Doyle, “The White Company”
• “My heart is, and always will be, yours.” ― Jane Austen, “Sense and Sensibility”

• “Every atom of your flesh is as dear to me as my own: in pain and sickness it would still be dear. Your mind is my treasure, and if it were broken, it would be my treasure still.” ― Charlotte Brontë, “Jane Eyre”
• “In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.” — Jane Austen, “Pride and Prejudice”
• “To love or have loved, that is enough. Ask nothing further. There is no other pearl to be found in the dark folds of life.” ― Victor Hugo, “Les Misérables”
• “The best love is the kind that awakens the soul and makes us reach for more, that plants a fire in our hearts and brings peace to our minds. And that’s what you’ve given me. That’s what I’d hoped to give you forever” ― Nicholas Sparks, “The Notebook”
• “Whatever our souls are made of, his and mine are the same.” — Emily Brontë, “Wuthering Heights” 

Love quotes from songs

• “Your love is better than ice cream.” — Sarah McLachlan, “Ice”
• “I will be the one to kiss you at night / I will love you until the end of time.” — Beyoncé, “End of Time”
• “Now, you’re lifting me up ’stead of holding me down / Stealing my heart ’stead of stealing my crown.” — Kacey Musgraves, “Butterflies” 
• “I hope you don’t mind that I put down in words how wonderful life is while you’re in the world.” — Elton John, "Your Song"
• “When you say you love me, know I love you more.” — Miley Cyrus, “Adore You” 

• “Whenever I’m alone with you, You make me feel like I am home again.” — The Cure, “Lovesong” 
• “Take me to your heart, for it’s there that I belong.” — Elvis Presley, “Love Me Tender” 
• “When you put your arms around me, you let me know there’s nothing in this world I can’t do.” — Keith Urban, “Somebody Like You”
• “You are the best thing, that’s ever been mine.” — Taylor Swift, “Mine” 
• “If you fall I will catch you, I’ll be waiting, time after time.” — Cyndi Lauper, “Time After Time” 

• “Some day, when I’m awfully low, when the world is cold, I will feel a glow just thinking of you and the way you look tonight.” — Frank Sinatra, “The Way You Look Tonight” 
• “I can’t fall in love without you.” — Zara Larsson, “I Can’t Fall In Love Without You”
• “But nothing’s greater than the rush that comes with your embrace / And in this world of loneliness, I see your face.” — Leona Lewis, “Bleeding Love” 
• “You’re still the one I run to, the one that I belong to. You’re still the one I want for life.” — Shania Twain, “You’re Still The One” 
• “It’s you, it’s you, it’s all for you, everything I do. I tell you all the time, Heaven is a place on Earth with you.” — Lana Del Rey, “Video Games” 

• “And when you smile, the whole world stops and stares for a while…” — Bruno Mars, “Just The Way You Are” 
• “And I’d give up forever to touch you, ’cause I know that you feel me somehow. You’re the closest to heaven that I’ll ever be and I don’t wanna go home right now.” — Goo Goo Dolls, “Iris” 
• “Before the day I met you, life was so unkind. But you’re the key to my peace of mind.” — Aretha Franklin, “(You Make Me Feel Like) A Natural Woman"
• “Some people want it all / But I don’t want nothin’ at all / If it ain’t you, baby / If I ain’t got you, baby.” — Alicia Keys, “If I Ain’t Got You”
• “At last, my love has come along / My lonely days are over / And life is like a song.”— Etta James, “At Last”

More ways to express your love

• 50 love quotes from movies that will have you at 'hello'
• 55 quotes about marriage that range from romantic to oh-so-honest
• 90 relationship quotes for every love story
• 101 best Valentine’s Day quotes to put your feelings into words

Sarah Fielding , MS, is an acclaimed journalist focusing on mental health, gender rights, and social issues. She's also the co-founder of  Empire Coven , a space for highlighting trailblazing women across New York. She has written for The Washington Post, The New York Times, Insider, Verywell, The Guardian and more. 

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Jane Austen fans row over ‘disrespectful’ plans for hotel where she spent 18th birthday

• Oops! Something went wrong. Please try again later. More content below

Jane Austen fans are fighting against plans for the historic hotel where she spent her 18th birthday to be turned into student halls.

The Pride and Prejudice writer celebrated her birthday at Dolphin Hotel in Southampton in 1793 and also attended two ballroom dances there.

In its 500 year history, the grade-II listed hotel also hosted Queen Victoria, Admiral Lord Nelson and William Shakespeare’s theatre company.

But the current owner has lodged an application with the council to transform the hotel into student accommodation.

The application, which is being considered by Southampton City Council, has prompted a flurry of objections from fans of Jane Austen .

‘They will lose a gem’

Norma Mackey, a retired health service worker, said she “nearly cried” when she first heard of the proposed development.

She said: “As soon as I found out about it I contacted our theatre group so they knew what to do...objection, objection, objection.”

The 69-year-old said the history and architecture of the building would be “lost” on the students staying there.

“I think they have shot themselves in the foot because they will lose a gem,” she added.

“If it goes, Southampton has lost quite a lot of its heritage. It’s disrespectful to the architect that designed it.”

Discussing the ball room, Ms Mackey said it is “just a nice feeling to know that she’s been here”.

In her writings, Ms Austen spoke of visiting the hotel. She wrote: “Our ball was rather more amusing than I expected.

“The room was tolerably full, and there were, perhaps, thirty couples of dancers. It was the same room in which we danced fifteen years ago.”

The plan to redevelop the hotel has been criticised by the Sarah Siddons Fan Club, a historical re-enactment theatre company named after Ms Austen’s favourite actress.

Cheryl Butler, who set up the group in 1985, said Ms Austen spent “quite important periods of her life” in Southampton which were “critical times in her development as a writer”.

She said a lot of people, both fans and local historians, are “really upset” about the plans to transform the hotel.

“I just find it strange that someone would pick on that building,” she added.

“There are many buildings in this town that have been given over to student accommodation.”

A heritage statement said student accommodation was considered the most suitable alternative option due to the minimal changes required to the listed building, with a demand for this housing in the city.

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“Trust Fund, 6’5, Blue Eyes” or Otherwise, Men in Finance Are Apparently Hot Again

By Kate Lloyd

We’ve all heard that “I’m looking for a man in finance” song by now, right? The one with lyrics about seeking a very tall, rich man spoken over a sample of seminal 2010s binge-drinking anthem “Like a G6”?

Just in case you, like me, are a TikTok-illiterate millennial and aren’t quite sure what I’m talking about, let me spell it out. Earlier this month, a comedy creator called Girl on Couch uploaded a video to TikTok with the captions, “Did I just write the song of the summer?” and “Can someone make this into an actual song plz?” In the clip, she puts on an Alexis Rose-meets-Charli XCX accent and speaks the lyrics, “I’m looking for a man in finance, with a trust fund, 6’5, blue eyes, finance…” before descending into beatboxed remix noises.

I remember seeing it pop up in my feed and thinking to myself: No, there’s no way this is going to take off. Who’s got enough time on their hands to join in with that? Turns out… I’m just old. In what has felt like a fortnight of watching the zeitgeist drift out of reach in real time ( Please don’t leave me, I own Starface stickers and Bloom! I know what’s cool, I promise! ), the video has become one of the defining memes of the summer.

Within hours, the DJs of TikTok had put beats to it: drum and bass, really awful Ibiza house, hard techno, the aforementioned “G6.” Creators pulled together video montages of handsome banker-looking men grabbing double espressos and power protein salads in their tightly fitting Charles Tyrwhitt suits. (Quite a creepy move, if I’m honest.) Someone made a PowerPoint about which types of finance guys are the best to date. (Private equity claimed the top spot.) Someone else calculated the probability you have of actually meeting a blue-eyed, 6’5, trust-funded banker. (Low.) Girl on Couch released the song on Spotify. And then lots of DJs started dropping the sample in the actual club, including EDM titan and man who definitely hasn’t made hugely embarrassing choices over the years, David Guetta.

My initial reaction to videos of 20-somethings raving to a woman essentially reading aloud her Match.com preferences was: “Yes, thank God, Gen-Z is finally having a truly cringeworthy moment; we millennials had to endure ‘nom nom,’ they must endure partying to this.” Dig in:

TikTok content

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But it also got me thinking. Ignoring “blue eyes,” “trust fund,” and “6’5.” (Bit too tall in my opinion, but to each their own.) Ignoring the fact that explicitly seeking out a rich man has a real the-bitchiest-Jane-Austen-character energy to it. It comes as a surprise that the women of TikTok are spending their summer publicly expressing their lust for men… in finance ?

From American Psycho to Wolf of Wall Street to Industry to The Big Short to, I don’t know, heavily reported documentaries about the 2007/2008 financial crash, banker bros have long been portrayed in culture as society’s villains. Yes, they have power and wealth—that’s sexy—but are they nice people you’d want to go out with in the long term? No, they’re presented as bad dads yelling into brick phones as they rush around toy shops at 9 p.m. on Christmas Eve; or vain, sex-addled psychopaths with a penchant for huffing powders; or at the very least stressed, overworked, and alcohol-reliant.

Obviously, this isn’t necessarily the reality. There are, I’m sure, lovely, sensible bankers. (And, as far as I’m aware, nearly all of them eventually go on to open vineyards, which is nice.) But whenever I think about the archetypal “man in finance,” it’s hard not to imagine anything beyond Leonardo DiCaprio shouting at a room of suited men to do unethical things, or Effie having a horrible time with her big-city colleagues in that short-lived Skins spin-off. Perhaps it’s down to growing up in the shadow of the recession and the way that shaped culture, but the idea of singing “I’m looking for a man in finance” on a night out feels deeply uncool to me.

It seems, though, that something has shifted. Finance bros are having a renaissance. Banking has become… somewhat trendy? One study found it was the number-one industry American college graduates wanted to go into, rising from fifth place in 2021. Meanwhile, The New York Times reported this week that “selling out” and working in finance is seen as a good thing among Ivy League Gen Z-ers. And it makes sense. It’s almost a cliché, now, to talk about how people are defining themselves less and less by impressive job titles—and careers that demand their entire creative selves in return for Free Pizza Fridays—and more by “having a nice life.” Combine this with the many rounds of redundancies rattling through tech and the creative industries, the increasing costs of living and education, and it’s perhaps unsurprising that, while some people are opting out of mega careers and capitalism, others are opting into industries that promise more cash and stability at the risk of being thought of as having the same Myers-Briggs Personality Type as Patrick Bateman. And it would also make sense that those people—the ones who can provide the cash and stability that finance offers—are becoming more attractive prospects. Because what’s better than selling out? Letting your partner sell out so you can afford to be a part-time artist and socialite, of course!

By Margaux Anbouba

By Marie Bladt

By Alexandra Macon

That being said, the new season of Industry comes out in August. We’ll see how people are feeling about finance bros then.

10 Best Modern Retellings of Jane Austen Novels

I t is a truth universally acknowledged that Jane Austen created the blueprint for the romance many want in their lives, both on-screen and in real life. Austen was a classic English novelist known for her critiques of class, gender, and love. In many ways, she was ahead of her time, questioning the notion that women must sit around and wait for men to give their lives meaning. Now, she is regarded as one of the most influential writers of all time, which makes the fact that several of her novels didn't achieve great success during her lifetime all the more surprising.

Among her works are Pride and Prejudice , Emma , Sense and Sensibility, Persuasion, Mansfield Park , and Northanger Abbey . These novels have inspired countless other books, but also films and series. Some adaptations of Austen's work take the books and translate them as closely as possible to the original, while others use them for inspiration. Here are 10 modern retellings of Jane Austen novels.

Aisha takes Austen's Emma and transforms it into modern-day India. Aisha Kapoor is a privileged girl who finds enjoyment in pairing up her friends and helping them find love. A few people in Aisha's life warn her to stop butting into other people's lives, though she ignores that advice. Her next "project" involves her best friend.

Though her intentions may be good, Aisha needs to learn a lesson or two about ignoring people's boundaries and desires for her own satisfaction. And, of course, Aisha may have a romantic interest herself in the mix. Aisha takes inspiration from another entry on this list, but puts its own twist on the storyline and has a great soundtrack.

Rent on Prime Video

Release Date 2013-08-15

Director Jerusha Hess

Cast Georgia King, Keri Russell, JJ Feild, Jennifer Coolidge, James Callis, Bret McKenzie

Rating PG-13

Main Genre Comedy

Austenland has literary connections outside of paying homage to Pride and Prejudice . It was based on a novel by Shannon Hale and was produced by Stephenie Meyer , author of the Twilight series. In Austenland , Jane Hayes is obsessed with Austen novels and has compared any romantic interest to the romances in the books; none have lived up to those expectations.

There's a Jane Austen-themed resort in England where guests can pretend they are in one of the novels, which sounds like Jane's cup of tea. While at Austenland, instead of getting assigned to portray a member of high society, she's given the role of a lower-class guest. The film is about Jane learning to find fulfillment outside of her books and in the real world.

Stream on STARZ

From Prada to Nada

Release Date 2011-01-28

Director Angel Gracia

Cast Alexis Ayala, Pablo Martínez de Velasco, Luis Rosales, Tina French, Alexa Vega, Camilla Belle

From Prada to Nada puts a Latin twist on Sense and Sensibility . It centers on Nora and May who grew up not having to worry about money. When their dad dies, and they discover they're broke, their entire world is turned upside down. The sisters have to leave the comfort of their Beverly Hills lives and move in with their aunt in East L.A.

Nora has to put her dream of becoming a lawyer on hold, drop out of law school, and get a job. Mary starts going to school and though she's initially attracted to her professor, there might be a more suitable option closer than she thinks. The romance each girl is involved with is important, but where the film truly shines are the scenes of them reconnecting to each other, their family, and their culture.

Rent on AppleTV

The Lizzie Bennet Diaries

The Lizzie Bennet Diaries is a unique retelling of Pride and Prejudice , as it's a web series told in the form of vlogs and originally posted to YouTube. Popular young adult novelist Hank Green was one of the creators behind the show. It follows Lizzie who is telling her camera about the recent events occurring in her life. Many of her anecdotes involve men she's seeing and her friends/family, and at times they make appearances in her videos. Lizzie is a character viewers can't get enough of and the reenactments of the stories she's telling are probably even more entertaining than seeing them play out. With such bite-size episodes, this is a perfect series to plow through.

Stream on YouTube

Related: Best Shows That Began as Web Series

Bride and Prejudice

Bride and Prejudice is a cute romantic Bollywood drama. Lalita lives in India with her family, including her mother who makes it known how important it is to her that her daughters marry well. Lalita attends a friend's wedding where she meets an American man named Will. Sticking to the Pride and Prejudice mold, Lalita is not immediately warm toward Will. The two of them bump heads over issues regarding men and women, India, and other cultural clashes.

Despite these fiery exchanges, they are drawn to each other, and the men Lalita's family propose as matches just can't compare to the feeling she has when she's with Will. The look at the timeless issues Austen covered within Indian culture gives Bride and Prejudice a unique angle.

Fire Island

As the most modern retelling on this list, Fire Island brings a fresh take on Pride and Prejudice . The film is about a guy named Noah who takes an annual vacation with his friends to Fire Island in New York. This trip is going to memorable than the others for many reasons, namely that the house they stay in is up for sale.

Partying and romance is always part of the itinerary for Noah and his friends, and this year a doctor and his rich friends are thrown into the mix. The film documents the wild escapades they all go on and their friendship dynamic. As with Austen novels, commentary on class is central to the narrative, though Fire Island leans more into the humor.

Stream on Hulu

Related: How Fire Island Compares to Pride and Prejudice

Lost in Austen

If you want a hint of the fantastical in your Austen retelling, the four-part British series Lost in Austen may be right up your alley. Amanda Price lives in London and can't fight the feeling that her life is quite mundane. The boyfriend she recently broke up with simply can't compare with the leading men in the romance novels she reads, particularly Mr. Darcy in Pride and Prejudice .

When Miss Elizabeth Bennet from said novel appears in Amanda's bathroom on more than one occasion, Amanda discovers a portal that she steps through placing her in the home of the Bennets during the time the novel is set. She and Elizabeth have traded places and each has to navigate this new world they inhabit. So many readers and TV/movie watchers want to step into the world of their favorite stories, but Lost in Austen may cause you to question that desire.

The Jane Austen Book Club

Release Date 2007-09-09

Director Robin Swicord

Cast Emily Blunt, Maria Bello, Maggie Grace, Kathy Baker, Jimmy Smits, Amy Brenneman

Loads of people aspire to be in a book club with others who share similar reading tastes. What loads of people don't expect is that their lives will start to mirror the plots of the books they're reading. In The Jane Austen Book Club , we follow a group of women who all adore the class and political commentary, as well as the romances, present in Austen novels.

Soon, not only do their life circumstances start to reflect the books, but the ladies themselves begin to morph into versions of the protagonists. While most adaptations and retellings focus on a single work of the author, The Jane Austen Book Club provides a fresh twist by giving audiences a taste of six novels.

Release Date 1995-07-19

Director Amy Heckerling

Cast Elisa Donovan, Alicia Silverstone, Paul Rudd, Donald Faison, Stacey Dash, Brittany Murphy

It'd be hard to think of classic '90s teen films and not mention Clueless . This comedy did more than inspire Halloween costumes from the decades since its release, it also inspired other films, music videos, and slang. Because the film stands on its own, many don't realize it was based on Austen's novel Emma .

The film follows Cher, a well-meaning but spoiled girl living in Beverly Hills. She is trying to play matchmaker with her teachers but starts to recognize the lack of love in her own life. The side characters are just as fun to watch, from her bold best friend Dionne to the quirky new girl Tai. Clueless is a film you won't get tired of.

Stream on Paramount+

Bridget Jones’s Diary

Bridget jones's diary.

Release Date 2001-04-13

Director Sharon Maguire

Cast Jim Broadbent, Colin Firth, Celia Imrie, Gemma Jones, Renee Zellweger, James Faulkner

Bridget Jones's Diary is a great selection for any slumber party or night in with friends. Renée Zellweger stars as the titular character Bridget, a woman who turns to the pages of her diary to pen all the aspirations she has for her life. At a New Year's Eve party, after an unpleasant encounter and being referred to as a "spinster," Bridget is determined to change her life. Soon, she finds herself at the apex of a love triangle featuring her boss and a childhood acquaintance.

Whether it be the challenges of dating someone from work with a reputation as a ladies' man or a tense relationship with a man who didn't have the greatest first impression of her, Bridget has her hands full. The film follows many of the classic romantic comedy tropes that Bridget's character only makes even more charming and hilarious. However, her journey of gaining self-confidence is equally important in this Pride and Prejudice re-imagining.

• Door County
• Performance
• Entertainment

CULTURE CLUB: Door Shakespeare to Premiere Jane Austen Adaptation

By Door County Pulse , May 30th, 2024

by AMY ENSIGN 

Producing artistic director, Door Shakespeare 

This year, Door Shakespeare is rolling out a world premier adaptation of Jane Austen’s Emma . The work, adapted to the stage by Joe Hanreddy for eight actors, will play opposite a traditional Shakespeare play, Romeo and Juliet , from July 3 through Aug. 17. 

Hanreddy’s journey to this summer’s production of Emma began many years ago at the Milwaukee Rep in 1993. Hanreddy was the newly appointed artistic director of the company and was working with composer John Tanner to develop a score for Brian Friel’s Dancing at Lughnasa . At the end of a late-night recording session, John asked Joe, who had previously been the artistic director at theaters in Santa Barbara, California and Madison, Wisconsin, if he had been to Door County yet. He hadn’t. 

“Do you want to go now?” John asked. 

So the two, plus Joe’s wife, Jami, spontaneously drove to the peninsula. Tanner introduced the Hanreddys to playwright Fred Alley of American Folklore Theatre (now Northern Sky Theater), and the trio soon became great friends. 

Over the years, Fred encouraged Joe and Jami to get a place in Door County, which they did in 2001, unfortunately right after Fred unexpectedly passed away. For many years, Joe and Jami shared their time between Milwaukee and Door County. But recently, they sold their Milwaukee home and now split their time between Door County and Santa Barbara to be close to friends and family. 

Hanreddy began adapting work for the stage, “for fun,” he said. “I was reading through [Pirandello’s] Six Characters in Search of an Author , and was interested in placing the show in a contemporary setting.”

With some of his other adaptations, such as The Tavern by George M. Cohan, and Seven Keys to Baldpate by Earl Biggers (retitled Seven Keys to Slaughter Peak ), Hanreddy said he “wanted to connect the original stories to Wisconsin audiences” and set them in rural Wisconsin lodges in the dead of winter. 

Door County audiences have seen Hanreddy take a similar approach as director of Door Shakespeare’s 2018 production of Much Ado About Nothing . Hanreddy set that production in post-Civil War Door County. The opening scene depicts the character of Don Pedro and his army returning home to the peninsula after the war. 

The process of writing adaptations is “trial and painful error,” Hanreddy said. “It’s the way of making any art. I take long walks or bike rides, daydreaming a bit. The best ideas sometimes come with solitude and increased blood flow.” 

Hanreddy generally begins with a rough outline of the original work, finding the basic thread of the story, he explained. 

“Simple premises, as in Seven Keys to Slaughter Peak or The Tavern are pretty straightforward to find and then elaborate upon,” he said. “But none of that applies to Jane Austen. Here we have a woman who created enduring literature. With Austen, I feel an obligation to tell as much of the story she wrote as possible. That said, it’s challenging to fit 500 pages of brilliant writing into a two-and-a-half hour play. But that’s part of the fun of it. Much of the joy of adapting Austen is getting to spend so much time with her.” 

Hanreddy began his relationship with Austen quite late in life. 

“I never read her in school. Early in my time at the Milwaukee Rep, I directed Tom Stoppard’s Arcadia ,” he said. “Half of the play takes place in the Regency period (1811-20), and I wanted to read about the life of privileged gentry on English country estates.” 

It was this research that led to Hanreddy’s appreciation of Austen’s work and his first Jane Austen adaptation, Pride and Prejudice . 

Soon after Pride and Prejudice premiered at the Milwaukee Rep with a very large cast, Jerry Gomis (Door Shakespeare Artistic Director from 1995 to 2011) approached Hanreddy about a smaller cast version of the play. 

“If you can get it down to 17 actors, we would love to do it,” Gomis told him at the time, and he did. An adaptation of Sense and Sensibility commissioned by the Utah Shakespeare Festival followed, and then the eight-actor version of Emma originally commissioned by People’s Light Theater (but never staged there due to COVID-19). 

“I chose Jane Austen largely for the brilliance of her language. But in a two-and-a-half hour theatrical production, you can’t go to all the places the book goes to,” he said. “Everything I could use of hers, however, I did. And theater can communicate much through the actor’s characterization.” 

But in order to keep the play moving, Hanreddy said he frequently needed to create one sentence here and there that embodied a whole paragraph without upsetting the rhythm and brilliance of the original work. 

Hanreddy is an accomplished director as well as playwright, but he was eager to bring in a director, Maggie Kettering, so that they might collaborate, working together on this premier production, to use the art of the theater in inventive ways. 

“I present a pretext and hope the director will come up with solutions I haven’t thought of,” Henreddy said.

“I really love Austen,” said Kettering, “but the thing I find most exciting about Emma is how lively and contemporary it feels. Austen is always relatable and sharp, but Emma feels especially accessible, and this adaptation really brings all that humor and life to the stage.” 

The final production will be a partnership, and as Kettering uses her inventiveness to tell the story, Hanreddy is looking forward to collaborating with Kettering on the final script. 

“Theater is a collaborative art form and the end result is a marriage of the script, the production, and the performances,” Hanreddy said. “I appreciate thoughts from the entire team, director, actors, designers, and producer. This is particularly true of an adaptation of a classic book with everyone very familiar with the source.” 

The Door Shakespeare company has arrived to begin work on Hanreddy’s adaptation of Jane Austen’s novel Emma, and the timeless classic, Romeo and Juliet, by William Shakespeare. The 2024 season runs July 3 through Aug. 17, in the Garden at Björklunden in Baileys Harbor.

Culture Club is contributed by members of the Peninsula Arts and Humanities Alliance, a coalition of nonprofit organizations whose purpose is to enhance, promote and advocate the arts, humanities and natural sciences in Door County. The member organizations are: Birch Creek Music Performance Center; Björklunden; The Clearing Folk School; Door Community Auditorium; Door Shakespeare; The Hardy Gallery; Midsummer’s Music; Miller Art Museum; Northern Sky Theater; Peninsula Music Festival; Peninsula Players Theatre; Peninsula School of Art; Third Avenue PlayWorks; Trueblood Performing Arts Center; and Write On, Door County.

Related Articles

February Fest Features Famous Trios, Jane Austen Tribute

Peninsula Music Festival Celebrates Jane Austen

Jane Austen, the Middle Ages and Hollywood Discussed at Bj?rklunden

Culture Club: Door Shakespeare Visits with Director Leda Hoffmann

Door County Tickets

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16 romance novels to heat up your summer

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16 romance novels for the summer If you buy books linked on our site, The Times may earn a commission from Bookshop.org , whose fees support independent bookstores.

Open fire bans may be in place this summer season, but that doesn’t mean readers can’t get scorched by hot romance on the page. Summer 2024 is chock-full of novels with intriguing plots that explore the vagaries of the human heart.

The Times took a look at some of these twisty stories where lovers and friends seek soulmates and playmates in locales that stretch from 11th century Italy to an alternative future. One of this summer’s most sizzling themes takes readers behind the scenes of reality dating shows where Mr. or Ms. Wrong distracts contestants from that season’s Mr. Right.

Whether you’re looking for the coolness of a noir romance or the polite manners of a Victorian spy caper, a queer superhero hunk or a polyamorous Manhattan bartender, a curvy girl’s quest to find the perfect man in time for her birthday or a woman’s treasure hunt to recover stolen jewels, plenty of steamy stories await a place on your summer TBR.

Add some spice to that sweating glass of ice tea and drink deeply of these piquant novels.

20 new books you need to read this summer

Here are 20 upcoming books — publishing between late May and August — that we recommend to kick off the summer reading season.

May 15, 2024

We Could Be Heroes By Philip Ellis G.P. Putnam’s Sons: 384 pages, $20 (June 4)

Can the hot romance between a “superhero” and a drag performer save the world? Patrick and Will meet on a chaotic night and become unexpected friends. Find out what happens when the mask and the wig come off and their burgeoning romance puts them under the spotlight.

The Secret Keeper of Main Street By Trisha R. Thomas William Morrow & Co.: 304 pages, $28 (June 4)

Bailey Dowery is a dressmaker who harbors a secret in 1950s Oklahoma. She can see the future of each of the brides for whom she creates stunning gowns. When the daughter of a wealthy oil tycoon who’s planning the high-society wedding of the year visits her shop, Bailey predicts disaster. Someone ends up dead and the repercussions threaten everyone Bailey loves.

Isabel and the Rogue By Liana de la Rosa Penguin Publishing GroupBerkley: 352 pages, $19 (June 4)

Mexican heiress Isabel Luna Valdés lives a quiet life under the French Occupation in the 19th century. When the ambassador asks her to spy for her country, she plunges into a world of espionage and intrigue. Capt. Sirius Dawson is the rakish British intelligence officer who seduces women to pry information. How will he keep his English cool as he matches wits with the clever, enchanting Isabel?

Triple Sec By TJ Alexander Atria: 320 pages, $19 (June 4)

Mel is a bartender at a swanky cocktail lounge. Every night, she watches as romance sparks for everyone but her. When Bebe orders one of her concoctions, Mel is shaken and stirred by the gorgeous woman, who draws her into a relationship that includes her husband. The polyamorous trio’s sexy encounters give Mel delicious inspiration for an upcoming bartender competition.

‘Seinfeld’ star Michael Richards is more than the worst thing that ever happened to him

‘Seinfeld’ star Michael Richards reflects on his infamous racist tirade in his memoir, ‘Entrances and Exits.’ Yes, he is sorry. And he accepts the descent into purgatory that followed.

May 26, 2024

Not Here to Make Friends By Jodi McAlister Atria: 400 pages, $19 (June 4)

Murray is the highly successful showrunner for the steamy reality series “Marry Me, Juliet.” He’s on a mission to make this season the most successful yet. The network selects the very dramatic Lily Fireball as the show’s feisty villain, and Murray sees trouble on the set. As Murray battles with his show’s alluring bad girl, he’s tempted by her charms.

The Summer Escape By Jill Shalvis Avon Books: 336 pages, $30 (June 11)

How can Anna Moore clear her father’s good name in their Lake Tahoe hometown? He’s been accused of stealing a valuable necklace, and Anna turns sleuth to find the truth. She bumps up against Owen Harris, the sexy adventurist who’s also in search of the million-dollar jewels, and the pair engages in a wild scavenger hunt. Anna must race Owen to the prize without getting her heart stolen.

Curvy Girl Summer By Danielle Allen Bramble: 368 pages, $18 (June 11)

Aaliyah James is looking for love in all the wrong places. When family tells her she’s “too much” for anyone, the miffed Aaliyah claps back with stories about the sexy man she’s been seeing. Before her family shows up to meet this mystery man at her birthday party, can Aaliyah find the right one to turn that big fib into reality?

Hot Summer By Elle Everhart G.P. Putnam’s Sons: 400 pages, $19 (June 25)

Cas gets selected to appear on a “Love Island”-type reality show and heads to the sunny beaches of Cyprus determined to win the public’s hearts by taking the top prize. That’s when she meets Ada, a beautiful contestant with whom Cas would like to hook up, only to find that Ada wants a relationship. Their desire for one another means Cas may have to compromise her winning strategy.

Elaine May wasn’t involved with her biography. That didn’t stop this author from telling the comedy icon’s complex story

Despite the big shrug off by Elaine May, who doesn’t do interviews, Carrie Courogen has produced the definitive book about the comedy icon’s life and career.

May 29, 2024

Joe Hustle By Richard Lange Mulholland: 272 pages, $29 (June 25)

What’s a classic noir without a troubled dame at its heart? Joe Hustle inhabits the shadow world of the Los Angeles fringe. When he meets Emily — beautiful, rich and the black sheep of her family — he falls hard. Joe runs into trouble with a drug dealer, and the young lovers flee on a desperate road trip. Lange, known for his hard-boiled mysteries, has penned a dangerous noir romance.

The Villian Edit By Laurie Devore Avon: 336 pages, $28 (July 2)

In an effort to win back her reading public, struggling romance novelist Jacqueline Matthis lands a spot on a “Bachelor”-type reality program. She falls hard for the show’s sexy Marcus. But her plans go awry when Jac discovers that her ex, Henry, is a producer on the show and that he’s set her up to be that season’s villain. As Jac tries to narrate her comeback story, the plot goes awry.

Nicked By M.T. Anderson Pantheon: 240 pages; $28 (July 23)

Anderson’s debut adult novel is the 11th century queer romantic adventure you didn’t know you were looking for. Brother Nicephorus dreams that his plague-afflicted town will be cured by attaining a holy relic. After treasure hunter Tyun shows up, the two men set off on a wild and erotic pilgrimage to find the mystical bones.

Elizabeth of East Hampton By Audrey Bellezza and Emily Harding Gallery Books: 384 pages, $19 (Aug. 6)

Lizzy Bennet detests summers in the Hamptons. Her hometown fills up with Manhattan’s elite, who turn the place into a party town, only to leave wreckage behind by Labor Day. Lizzy has decided this is her last Hamptons summer, which she’ll spend working and surfing. When the wealthy Will Darcy shows up, Lizzy is prepared to hate him. In this retelling of Jane Austen’s “Pride and Prejudice,” Darcy and Lizzy give Regency tea a Long Island twist.

Greg Iles almost died writing his latest book: ‘This might be the last thing I ever do’

Greg Iles expects backlash from some white readers for his latest book, ‘Southern Man,’ set 15 years after the events of the ‘Natchez Burning’ trilogy.

May 23, 2024

In Every Life By Rea Frey Harper Muse: 368 pages, $19 (Aug. 6)

Harper’s world is upended when her husband, Ben, receives a cancer diagnosis. As Ben’s health declines, he tells Harper to find a new love who can comfort her after he’s gone. A New York reporter shows up to tell their unusual story and Harper is faced with an impossible choice made possible by magic. She can go back to her past and choose a different path, but it would have to be one without Ben.

Till Death Do Us Part By Laurie Elizabeth Flynn Simon & Schuster: 320 pages, $29 (Aug. 13)

Ten years ago, June’s first husband, Josh, drowned during their honeymoon. While planning her second wedding, June thinks she sees Josh and worries that she’s hallucinating. She then stumbles upon his photograph online and takes off for California in search of the truth.

The Cottage on Pelican Bay By Brenda Jackson Canary Street Press: 320 pages, $19 (Aug. 20)

Jackson, whose accolades include a lifetime achievement award from the Romance Writers of America, delivers another scorcher. Zara Miller meets “Saint” in a New Orleans bar for a brief, memorable fling. Zara goes back to her hometown of Catalina Cove and re-encounters the smoldering Saint, and their affair grows hot enough to burn Zara’s cottage down.

Morbidly Yours By Ivy Fairbanks G.P. Putnam’s Sons: 352 pages, $19 (Aug. 20)

Callum Flannelly is a painfully shy undertaker in Ireland who will be disinherited if he doesn’t marry by the time he’s 35. Lark is a vivacious American widow who lives next door to the mortuary. Lark decides to play Callum’s matchmaker, digging deep to find him a new love. Can she do it before time runs out?

More to Read

The week’s bestselling books, June 2

Opinion: The ideal beach read? It’s not what you’d expect

May 27, 2024

The week’s bestselling books, May 26

May 22, 2024

10 books to add to your reading list in May

May 1, 2024

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Polygon Court debates: Is there any hope in the ending of I Saw the TV Glow?

Two radically different reads on the end of Jane Schoenbrun’s movie

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Share All sharing options for: Polygon Court debates: Is there any hope in the ending of I Saw the TV Glow?

Once you start talking about Jane Schoenbrun’s I Saw the TV Glow , it’s hard to stop. Their eerie, tragic follow-up to the underground hit We’re All Going to the World’s Fair is endlessly layered and unpackable, from its complicated central metaphor about trans coming-out to its close links to Buffy the Vampire Slayer and other media to that indelible, hard-hitting ending .

While there’s plenty to talk about throughout the movie, we keep coming back to the ending, in part because we’ve seen an interesting split in how people are interpreting it. Like the ending of Inception , like the ending of Challengers , the end of TV Glow prompts viewers to see different things in the same images and the same moments. Here at Polygon, we’re seeing the same split in our own writers… and you know what that means. It’s time for another case file at Polygon Court.

Polygon Court is where we take our divisive pop culture conflicts, as we did when we debated the alternate ending of James Cameron’s Titanic , the most important part of the Fast & Furious franchise , the problem of Spider in Avatar: The Way of Water , the song cut from The Muppet Christmas Carol , and the mysterious, maybe problematic ending of All of Us Strangers . So pull up the stenograph and get ready to take notes (and take sides), because court is in session.

[ Ed. note: End spoilers ahead for I Saw the TV Glow .]

The ending of I Saw the TV Glow

The quick summary: I Saw the TV Glow follows decades in the life of Owen (Ian Foreman as a young teenager, Justice Smith thereafter), a shy, deeply awkward, lonely young man who finds solace in a late-night cult TV show called The Pink Opaque . He’s lured into the show’s fandom by a slightly older teenager, Maddy (Brigette Lundy-Paine), who considers the show “more real than real life.” Maddy desperately wants to escape their small town, and sees The Pink Opaque as a form of escape. The show centers on two girls, Isabel and Tara, who share a psychic connection, which they use to fight the sinister Mr. Melancholy and his evil agents.

Eventually, Maddy runs away from home — she invites Owen to join her, but he’s too afraid to leave. Eight years later, Maddy returns, telling Owen that The Pink Opaque is real, she is actually Tara, he is actually Isabel, and that in the real world, Isabel has been captured by Mr. Melancholy, who buried her alive, using his potions to hold her in an illusion and prevent her from escaping. Owen’s entire life is that illusion. Maddy says she can break Owen out of it before Isabel dies, but he needs to undergo the same dangerous, frightening ritual she put herself through, allowing herself to be buried alive so she could get back in touch with herself as Tara and force her way through the illusion.

Owen refuses, and Maddy retreats, telling him he still has time, but not infinite time. Decades go by in the blink of an eye. The Pink Opaque changes in an unsettling, disappointing way. Owen claims he’s happy enough, but he seems disconnected, drifting, and miserable — until one day, at his job at an arcade, he snaps and screams that he’s dying, that he needs help. Everything around him freezes, and no one seems to notice what he’s said. He retreats to the bathroom, where he cuts open his chest and sees the static glow of his television inside himself — but he just returns to the arcade, where he apologizes to every customer he sees for his outburst, even though none of them acknowledge him or seem to notice. And that’s where the movie ends.

Opening statements: The light within, the darkness without

Tasha: Pete, I was shocked to hear you see a light at the end of the tunnel after all that! I wrote about the end of the movie specifically because I felt the finale was so bleak, dark, and sad that I felt it was designed as a severe warning to anyone facing a difficult life or an uncomfortable decision. It left me unsettled and shaken. I admire Schoenbrun for the courage of their convictions, and for creating something so emotionally moving, and the more I think about the movie as a whole, the more I admire it. But certainly not for its sense of hope! You see it differently?

Pete: I do! Like you, I have so much respect for this film. I loved the movie when I first saw it, and I’ve only grown to love and appreciate it more with every passing day. It’s rare to have a movie like this, where even people who have completely opposite readings of it than I do only make me appreciate the depth and complexity of what Schoenbrun has done here more. I Saw the TV Glow is a true, rare masterpiece, and a movie that fills me with a sense of fulfillment just thinking about it.

Presentation of evidence: Is there hope in the end of I Saw the TV Glow?

Pete, the case for hope: Yes, I do see a glimmer of hope at the ending, but I understand why some audiences do not. As with the rest of the movie, I think Schoenbrun deftly leaves some things open for interpretation, while clearly signaling others. The movie is ripe for all sorts of allegorical interpretations, on top of the very present trans story on the surface.

For me, the ending suggests a breakthrough for Owen — but the kind of breakthrough that isn’t easy. Truly discovering yourself is a hard process, and one that comes with ups and downs, even through the beauty of finding a real truth. It can be an embarrassing experience to reinvent yourself — hence Owen’s constant apologies to anyone nearby — and I think the film beautifully showcases the complex, seemingly oxymoronic emotions that come with self-discovery.

Tasha, the case against: I sure understand why people would want to see the end as a breakthrough for Owen, a step forward that’s going to lead him somewhere safer and happier. I recently recorded a podcast about the movie with trans critic/author/screenwriter Emily St. James , and she mentioned that over on AO3, people are already starting to write fanfic about Owen and Maddy’s future — a natural response to being left in such a dark place.

I just don’t see it on screen at all. The fact that he literally opens himself up to discover what’s inside him is a potent visual symbol — especially given his revelation earlier in the film that he feels like he’s empty, like someone hollowed him out. When Maddy tells him Mr. Melancholy literally cut out Isabel’s heart and put it in a refrigerator, that explains both his feeling of hollowness and what he sees when he cuts his chest open. (That act could also be debated as a metaphor for gender-confirming surgery.)

And then there’s the fact that seeing the TV glow inside himself is the first really overt supernatural thing he’s experienced, the first thing that might confirm Maddy’s story as something other than a delusion. (Depending on how he personally experienced that aborted moment where he stuffs his head into his own television and his creepy Fred Durst father drags him out.)

So the fact that he responds to all of that weighty coming-together of story and vision and explanation by closing himself up, going back to his job, and apologizing to everyone he sees is stunning to me. I don’t see it as suggesting he’s had a life-changing revelation, I see it as him suppressing his new knowledge, denying it, and trying to go back to normalcy. Did you see anything overt on the screen that keys you into a different future for him? Or is it more about a vibe and a hope?

Pete, the case for hope: To me, the fact that Owen is finally willing to look inside himself at all, in a way that is depicted so graphically and intimately, is a win on its own. That moment gives me hope for his future — that first, terrifying step is the most important one on the path to self-discovery. In some forms of self-discovery, it’s harder before it gets better.

And I think we know enough about the town and environment Owen is in to know that is true of this situation. It wouldn’t feel genuine to me for Owen to come out in celebration after this moment of self-discovery, and just have all the answers — it’s the spark that starts what’s going to be a difficult but fulfilling process.

As the sidewalk chalk puts it, when Schoenbrun’s camera pans over a piece of street graffiti after Maddy leaves: “There is still time.” There is still tragedy in the moment — as critic Willow Catelyn Maclay puts it in an excellent review of the film , “there is still time, but only so much.” But I do believe that it is the first, important step on Owen’s path to being happy. There is still time for Owen, and for everyone. It isn’t too late to find yourself, no matter how far along in your journey you wait to truly look.

Of course, I choose to believe that, but I think Schoenbrun’s comments about this support my reading of the ending. In an interview with Maclay, they said , “I don’t necessarily think that in a portrait of transness we need to see the person that they were before the egg cracked, or the person that they were after the egg cracked, or the person that they want to be. I don’t think we need an entire lifetime’s worth of growth to understand somebody.”

Schoenbrun has described this moment at the end of the film for Owen as the moment of the egg cracking, and I think they want to leave what’s next intentionally open, because this film is precisely about that moment of self-discovery — not necessarily about what happens next. I can understand why that might feel unfulfilling to some people, or why it could be interpreted to mean Owen will remain in the closet. But I choose to see it as the start of Owen’s next chapter.

Tasha, the case against: That’s a compelling argument! I know Schoenbrun is drawing from their own journey of self-discovery here, so we can potentially look to where they ended up to suggest where Owen might end up. It’s good to know they don’t think of this as the absolute end for Owen, in spite of the long delay and the threat to Isabel.

I still don’t see anything in this movie that gives me hope for him personally, though, given how consistent he is about resisting. But… I want to! Maybe this is just a “glass half empty/glass half full” lady-or-the-tiger story situation , where what you see in the ending says more about you and your bent toward cynicism or optimism than it says about what Schoenbrun actually puts on the screen. Maybe I just need to fight my own cynicism here.

Looking at another quote from Schoenbrun, though, talking to Entertainment Weekly about the ending , I think it’s also clear that they wanted to leave the movie open to that cynical read, because of a sense that an optimistic read would feel unrealistic, and wouldn’t affect audiences the same way:

I think it takes years, if not a lifetime, to undo that damage [of being constantly pushed to suppress a trans identity]. And to undo it in our case in 2024, in a world where, at best, cis people want to be PC and nice and use the right pronouns but don’t see me the way that I want them to, and, at worst, want me dead — it’s kind of psychotic, and for the movie to end in any way beyond this, like, fledgling, furtive, maybe a first step that’s still rife with trauma and all of the consequences of it, would have felt to me like I wasn’t doing my job as an artist.

Speaking of what Schoenbrun achieves as an artist here, Emily wrote about the ending for Vulture, and I had the chance to preview that piece. It hasn’t been published yet (I’ll link it here when it goes up), but she has some insights I think are particularly enlightening about how the movie ends in such an ambiguous, unresolved way because that “gnawing sense of dissatisfaction,” the sense of melancholy and disconnection, is meant to leave cis people with “contact-high gender dysphoria.” I don’t know if that was part of Schoenbrun’s thinking at all, but the idea that the movie has to end in an ambiguous way to provoke a sense of recognition and understanding strikes me as powerful and daring.

Closing statements: The many layers of TV Glow

Pete, the case for hope: I deeply appreciate how ambiguous TV Glow is, how open it is for all sorts of interpretations, and that Schoenbrun does not give in to easy answers. That’s one of the things I find most fascinating in this movie, that our colleague Austen Goslin put very well when I was discussing the movie with him: Many examples of cinema in the trans canon are movies that are not textually trans, but can be read subtextually as trans. This is a movie that is textually trans, but can be read subtextually in all sorts of other different directions.

It makes the movie much more discussable, for sure, but it’s also a breath of fresh air in an environment that seems to require an unreasonable amount of clarity from challenging art. Even the quotes you dropped in above — I read them in support of my take on the ending, you read them in support of yours. Cinema! Gotta love it.

My interpretation of the ending comes down to this: Not all forms of self-discovery and change are created equal. Sometimes, it becomes harder before it gets better.

Such a massive moment of self-discovery shakes people to their very core. Yes, you may find some semblance of truth hiding within yourself, but that’s also a revelation that you’ve been living your life as a lie — lying to yourself, and to everyone else around you. In this light, Owen’s actions after that moment of discovery make complete sense to me. Owen’s life isn’t over just because the movie is over, and the end gives the opportunity for a choice. A choice where Owen no longer lives as a shell of a person, no matter how hard it remains to get there.

As Schoenbrun said on an excellent episode of Tuck Woodstuck’s Gender Reveal podcast : “What comes first are the negative consequences, not the positive ones.”

Tasha, the case against: Amazing. Well, amid all the other things this movie is about, it’s about working on yourself, and finding a path to a more satisfactory, centered life. I’m going to take that note, and go work on my cynicism problem.

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