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Overview
At her death in 1817, Jane Austen left the world six of the most beloved novels written in English—but her shortsighted family destroyed the bulk of her letters; and if she kept any diaries, they did not survive her. Now acclaimed biographer Claire Tomalin has filled the gaps in the record, creating a remarkably fresh and convincing portrait of the woman and the writer.
While most Austen biographers have accepted the assertion of Jane's brother Henry that "My dear Sister's life was not a life of events," Tomalin shows that, on the contrary, Austen's brief life was fraught with upheaval. Tomalin provides detailed and absorbing accounts of Austen's ill-fated love for a young Irishman, her frequent travels and extended visits to London, her close friendship with a worldly cousin whose French husband met his death on the guillotine, her brothers' naval service in the Napoleonic wars and in the colonies, and thus shatters the myth of Jane Austen as a sheltered and homebound spinster whose knowledge of the world was limited to the view from a Hampshire village.
Synopsis
A look at the life of Jane Austen that suggests that her novels were based less on experience and more on brilliant artifice.
Publishers Weekly
Tomalin (The Invisible Woman) solves the problem of preparing yet another biography of Jane Austen (1775-1817), a "life of no event," by a familiar formula. At every turn, one meets "may have," "may be" and "might have." A biographical boon is the large supporting cast. Tomalin takes 100 pages to get Austen to age 18 by filling in the pages with stories about her relatives and neighbors in Hampshire. An entire chapter is devoted to a single Austen letterand because few of her letters survive, Tomalin suggests that in some years, in a letter-writing age, Austen wrote none whatsoever. Such apparent silences are suffused with hypotheses about her dreary existence during the long gaps between her teenage novelizing and her shrewd, mature works like Emma and Mansfield Park, which followed the much-delayed publication of Sense and Sensibility and Pride and Prejudice. Tomalin is strikingly sensitive, however, to Austen's life of social discomfort. In what is a very personal book, she often resorts to the first person, which fits the speculative approach. Photos not seen by PW. (Nov.) FYI: For reviews of two other Austen biographies published this year, see Jane Austen by Valerie Grosvenor Myer in Nonfiction Forecasts (March 10) and Jane Austen by David Nokes (July 7).
Editorials
Publishers Weekly -
Tomalin (The Invisible Woman) solves the problem of preparing yet another biography of Jane Austen (1775-1817), a "life of no event," by a familiar formula. At every turn, one meets "may have," "may be" and "might have." A biographical boon is the large supporting cast. Tomalin takes 100 pages to get Austen to age 18 by filling in the pages with stories about her relatives and neighbors in Hampshire. An entire chapter is devoted to a single Austen letterand because few of her letters survive, Tomalin suggests that in some years, in a letter-writing age, Austen wrote none whatsoever. Such apparent silences are suffused with hypotheses about her dreary existence during the long gaps between her teenage novelizing and her shrewd, mature works like Emma and Mansfield Park, which followed the much-delayed publication of Sense and Sensibility and Pride and Prejudice. Tomalin is strikingly sensitive, however, to Austen's life of social discomfort. In what is a very personal book, she often resorts to the first person, which fits the speculative approach. Photos not seen by PW. (Nov.) FYI: For reviews of two other Austen biographies published this year, see Jane Austen by Valerie Grosvenor Myer in Nonfiction Forecasts (March 10) and Jane Austen by David Nokes (July 7).Library Journal
Despite only a few surviving personal papers and letters, no autobiographical notes, and no diaries written by Jane Austen, attempts to piece together the life and personality of the author abound. An experienced biographer, Tomalin makes do by focusing more on the Austen family, acquaintances, and friends than on Austen herself, forthrightly acknowledging, "It is only because of her writing that we think them worth remembering; and yet she is at almost every point harder to summon up than any of them...she is as elusive as a cloud in the night sky." Like David Nokes's recent biography, Jane Austen LJ 9/1/97, Tomalin's presents an engaging story of the life and times of the Austen family. Although Tomalin's biography is not as detailed as Nokes's, it offers a freshness in its attention to, and compassion regarding the child-rearing practices of the Austens, the physical demands on child-bearing women, and to the portrayal of Austen's will, determination, and energy in her final days. Recommended for literature collections for its perspective and minimal speculations.Jeris Cassel, Rutgers Univ. Libs., New Brunswick, N.J.NY Times Book Review
Another one! Distinctive in its hypothesis that the incidents of Austen's life were far less trivial than they may look to us now.Nancy Mairs
"Tomalin's narrative involves, perforce, a greater number of characters, and her canvas must be broader than what Austen called the "little bit (two Inches wide) of Ivory on which I work with so fine a brush." Nevertheless, aside from very rare infelicities, her prose is both is both lucid and graceful. She incororates massive quantities of research without slowing the lively pace of her narrative. Indeed, Jane Austen is written with much the same verve its subject brought to her novels, and its tale is nearly as absorbing as they. I can think of no higher praise." -- The Women's Review of BooksKirkus Reviews
The second major Austen biography of the season expertly places the great novelist in her historical moment, without attempting to fully plumb her psyche.Austen, writes Tomalin (The Invisible Woman: The Story of Nelly Ternan and Charles Dickens, 1991, etc.), "has a way of sending biographers away feeling that, as Lord David Cecil put it, she remains `as no doubt she would have wished—not an intimate but an acquaintance.' " Tomalin does indeed fall short of conveying the kind of three-dimensional portrait so painstakingly achieved by David Nokes in his recent Austen biography (p. 1012). She speculates on how the novelist's sojourn with a village wet nurse affected her in infancy, on how she handled heartbreak as an adult, and on the impact of the various family crises that marked her later life—guesswork being of the essence for the Austen biographer, given that most of her correspondence was destroyed by her family after her death. But Tomalin doesn't convince with her tentative explanations of what made Austen tick. Be it somewhat lacking in depth, however, the sketch of the famous author that emerges from Tomalin's unassuming, lucid, and concise account of Austen's family life and of her meteoric rise to fame in her last years does do justice to the integrity of her complex character. Her mobile intelligence and biting humor come across smartly. What's more, Tomalin offers impressive accounts of the evolution and meanings of Austen's novels, and of how she and her works related to their literary antecedents, from Samuel Johnson to the popular novelist Charlotte Smith, and to their historical context of revolution and war. Nice historical detailing—attention, for example, to the expense of the paper on which Austen wrote—adds period flavor.
Recommended for those seeking a brief introduction to Austen's life, times, and work; those wishing to burrow deep into the author's consciousness will want to consult Nokes.