Search results for ""Author Kathryn Sutherland""

In their celebration of ‘little matters’ – the regular round of visiting, dining out, drinking tea, of reading and walking to the shops and sending to the post – Jane Austen’s letters and novels have many similarities. The thirteen letters collected by Jane Austen’s House Museum, in Chawton, Hampshire and reproduced in this book give us intimate glimpses into her life in Bath and Chawton and on visits to London, many of their details finding echoes in her fiction. 'Jane Austen: The Chawton Letters' traces a lively story beginning in 1801, when, aged twenty-five, Jane Austen left Steventon in Hampshire to move to Bath. Later letters relish the shops, theatres and sights of London, but are interspersed from 1809 with the quieter routines of village life in Chawton, Hampshire, which was to be her home for the remainder of her short life. We learn here of her anxieties for the reception of Pride and Prejudice, her care in planning Mansfield Park and the hilarious negotiations over the publication of Emma. These letters, each accompanied by reproductions from the original manuscripts in Jane Austen’s hand, testify to Jane’s deep emotional bond with her sister: the most moving letter of all is that written by Cassandra only days after Jane’s death in Winchester in July 1817. Brought together in this little book, these artefacts make a delightful modern-day keepsake of correspondence from one of the world’s best-loved writers.

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This collection of essays offers an intimate history of Austen’s art and life told through objects associated with her personally and with the era in which she lived. Her teenage notebooks, music albums, pelisse-coat, letters, the homemade booklets in which she composed her novels and the portraits made of her during her life all feature in this lavishly illustrated collection. By interpreting the outrageous literary jokes in her early notebooks we can glimpse the shared reading activities of Jane and her family, together with the love of satire and home entertainment which can be traced in the subtler humour of her mature work. It is well known that Austen played the piano but her music books reveal how music was used to create networks far more intricate than the simple pleasures of home recital. Examination of Austen’s pelisse-coat tells us something about her physique and, with the lively letters to her sister Cassandra, gives an insight into her views on fashion. The exploration of yet more objects – the Regency novel, newspaper articles, naval logbooks, and contemporary political cartoons – reveals Austen’s filiations with wider social and political worlds. These ‘things’ map the threads connecting her (from India to Bath and from North America to Chawton) to those on the international stage during the wars with France that raged through much of her short life. Finally, this book charts her reputation over the two hundred years since her death, offering fresh interpretations of Jane Austen’s changing place in the world.

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This is a study of the politics, the commerce, and the aesthetics of heritage culture in the shape of authors' manuscripts. Draft or working manuscripts survive in quantity from the eighteenth century when, with the rise of print, readers learnt to value 'the hand' as an index of individuality and the blotted page, criss-crossed by deletion and revision, as a sign of genius. Since then, collectors have fought over manuscripts, libraries have curated them, the rich have stashed them away in investment portfolios, students have squeezed meaning from them, and we have all stared at them behind exhibition glass. Why do we trade them, conserve them, and covet them? Most, after all, are just the stuff left over after the novel or book of poetry goes into print. Poised on the boundary where precious treasure becomes abject waste, litter, and mess, modern literary manuscripts hover between riches and rubbish. In a series of case studies, this book explores manuscript's expressive agency and its capacity to provoke passion--a capacity ever more to the fore in the twenty-first century now that books are assembled via word-processing software and authors no longer leave in such quantity those paper trails behind them. It considers manuscripts as residues of meaning that print is unable to capture: manuscript as fragment art, as property, as waste paper. It asks what it might mean to re-read print in the shadow of manuscript. Case studies of Samuel Johnson, James Boswell, Walter Scott, Frances Burney, and Jane Austen--writers from the first great period of manuscript survival--are interspersed with discussions of William Godwin's record keeping, the Cairo genizah, Katie Paterson's 'Future Library' project, Andy Warhol's and Muriel Spark's self-archiving, Cornelia Parker's reclamation art, and more.

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This edition contains generous selections from all five volumes of The Wealth of Nations, and places Smith's inquiry into its historical, intellectual, and cultural context. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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'Full of the energies of discord - sibling rivalry, greed, ambition, illicit sexual passion and vanity' Margaret DrabbleJane Austen's profound, ambiguous third novel is the story of Fanny Price, who is accustomed to being the poor relation at Mansfield Park, the home of her wealthy plantation-owning uncle. She finds comfort in her love for her cousin Edmund, until the arrival of charismatic outsiders from London throws life at the house into disarray and brings dangerous desires to the surface. Mansfield Park is Austen's most complex work; a powerful portrayal of change and continuity, scandalous misdemeanours and true integrity. Edited with an Introduction and Notes by Kathryn Sutherland

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'no person could be really well . . . without spending at least six weeks by the sea every year' In Sanditon, Jane Austen writes what may well be the first seaside novel: a novel, that is, that explores the mysterious and startling transformations that a stay by the sea can work on individuals and relationships. Sanditon is a fictitious place on England's south coast and the obsession of local landowner Mr Thomas Parker. He means to transform this humble fishing village into a fashionable health resort to rival its famous neighbours of Brighton and Eastbourne. In this, her final, unfinished work, the writer sets aside her familiar subject matter, the country village with its settled community, for the transient and eccentric assortment of people who drift to the new resort, the town built upon sand. If the ground beneath her characters' feet appears less secure, Austen's own vision is opening out. Light and funny, Sanditon is her most experimental and poignant work.

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'I am tired of submitting my will to the caprices of others-of resigning my own judgement in deference to those to whom I owe no duty, and for whom I feel no respect.' The unfinished fictions collected here are the novels and other writing that Jane Austen did not publish. The protagonist of the earliest story is Lady Susan, a sexual predator and a brilliant and manipulative sociopath. The Watsons, a tale of riches to rags, is set in a village deep in mud and misery where the Watson sisters waste away, day after dull day, waiting for the suitors who never appear. Sanditon, the novel interrupted by the author's death, is a topical satire on the niche marketing campaign waged by investors in the latest seaside resort, the fictional Sanditon, situated on England's over-supplied south coast. If The Watsons shares the disturbed life of a Chekhov short story, Sanditon's cast of eccentrics anticipates the zany world of Dickens. Experimental and sharp-elbowed, all three probe new areas of invention and push out beyond what we expect to find in a novel by Jane Austen. This edition collects together all Austen's unpublished adult fiction, poetry, and related writings, written in her late teens, in her late twenties, and in the year she died, aged forty-one. They contribute more than a dash of discomfort to our modern image of the romantic novelist and reveal Jane Austen's development as a writer.

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Part of Penguin's beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. Taken from the poverty of her parents' home in Portsmouth, Fanny Price is brought up with her rich cousins at Mansfield Park, acutely aware of her humble rank and with her cousin Edmund as her sole ally. During her uncle's absence in Antigua, the Crawford's arrive in the neighbourhood bringing with them the glamour of London life and a reckless taste for flirtation. Mansfield Park is considered Jane Austen's first mature work and, with its quiet heroine and subtle examination of social position and moral integrity, one of her most profound.

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'Far and wide was [Redgauntlet] hated and feared. Men thought he had a direct compact with Satan - that he was proof against steel -.' Set in the summer of 1765, Redgauntlet centres around a third, fictitious, Jacobite rebellion. Kidnapped by Edward Hugh Redgauntlet, a fanatical supporter of the Stewart cause, the young Darsie Latimer finds himself caught up in the plot to enthrone the exiled Prince Charles Edward Stewart. The novel follows Darsie's adventures and those of the advocate Alan Fairford, who sets out to rescue him. These two young men from very different backgrounds are united by friendship and their optimistic belief in the settled Hanoverian establishment. First published in 1824, this is the last of Scott's major Scottish novels, and perhaps his most complex statement about the relation between history and fiction. This edition uses the Magnum text of 1832. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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'I doubt whether it would be possible to mention any author of note, whose personal obscurity was so complete.' James Edward Austen-Leigh's Memoir of his aunt Jane Austen was published in 1870, over fifty years after her death. Together with the shorter recollections of James Edward's two sisters, Anna Lefroy and Caroline Austen, the Memoir remains the prime authority for her life and continues to inform all subsequent accounts. These are family memories, the record of Jane Austen's life shaped and limited by the loyalties, reserve, and affection of nieces and nephews recovering in old age the outlines of the young aunt they had each known. They still remembered the shape of her bonnet and the tone of her voice, and their first-hand accounts bring her vividly before us. Their declared partiality also raises fascinating issues concerning biographical truth, and the terms in which all biography functions. This edition brings together for the first time these three memoirs, and also includes Jane's brother Henry Austen's 'Biographical Notice' of 1818 and his lesser known 'Memoir' of 1833, making a unique biographical record. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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'Jane Austen practising' Virginia Woolf Three notebooks of Jane Austen's teenage writings survive. The earliest pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody. Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer's eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen's later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misdemeanour, theft, and even murder prevail.

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