Pub Date : 2021-12-16DOI: 10.1080/14748932.2022.1996756
S. Powell
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Pub Date : 2021-11-12DOI: 10.1080/14748932.2022.1996744
Bob Duckett
(quoted in the Introduction) provides a startling contrast to the extract from Charlotte Bront€e’s ‘Biographical Notice’ in which she wrote that Anne and Emily were not learned, and ‘had no thought of filling their pitchers at the well-spring of other minds’ (p. 222). The influence of nineteenth century attitudes to animal welfare can be seen throughout Agnes Grey. Cruelty to animals within the novel signifies moral failings, while the most sympathetic characters are those who show compassion towards them. While this seems fairly standard to a modern audience, at the time of publication it reflected shifting ideas about animal welfare. Inboden’s discussion of this in the Introduction, and the material chosen for the appendices, contextualises Agnes Grey as being very modern in its attitudes towards animals, how they were treated, and how a character may be judged by their treatment of them. The footnotes included throughout are informative without intruding on the experience of reading the novel. They provide readers with an understanding of antiquated language and references. Those in Chapter X in particular are extensive, and draw attention to Anne Bront€e’s critical and intellectual relationship with her faith. She was pious, but was not necessarily the victim of religious melancholy that she has often been presented as. Inboden takes good advantage of opportunities to remind the reader that Anne Bront€e’s influences extended beyond the Bible, with footnotes referencing literary influences such as Byron, Shakespeare, and Coleridge. Inboden’s edition of Agnes Grey does an excellent job of deconstructing the outdated ideas about Anne Bront€e, and instead presents her as a radical realist. ‘What is radical about Agnes Grey is [... ] the clear moral compass, quiet wit, and simple ardour of the narrator’ (p. 10). Inboden argues successfully that the major strengths of the novel lie in its simplicity – the events of the novel could have happened to many women living at the time it was published. Inboden also praises the portrayal of the romantic interest as a ‘hero who exhibits a masculinity built on compassion, trust, and dependability’ (p. 10); this form of masculinity is an important theme in both of Anne Bront€e’s novels. ‘Agnes Grey deserves to be read afresh and in the context of Anne’s literary craft and the world she inhabited – a world beyond Haworth Parsonage and her sister’s books’ (p. 22). Robin L. Inboden’s new edition of Agnes Grey provides new and returning readers alike with the context necessary to deconstruct their preconceptions of Anne Bront€e and her first novel. The novel itself is still as fresh and compelling as it always has been. The Introduction, appendices and footnotes all work together to give a greater appreciation for the novel, and for Anne Bront€e’s talents as a writer.
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Pub Date : 2021-11-11DOI: 10.1080/14748932.2021.1987761
Sara L. Pearson, P. Cook, J. Ogden
This list is part of an annotated bibliography of scholarly and critical work. The earlier parts were published in Brontë Studies, 32.2 (July 2007), 33.3 (November 2008), 34.3 (November 2009), 36.4 (November 2011), 37.3 (September 2012), 39.1 (January 2014), 41.3 (September 2016), 42.4 (November 2017), 43.4 (October 2018), 44.3 (July 2019), 44.4 (October 2019), 45.4 (October 2020) and 46.4 (October 2021). The present part covers work published in 2019. Bibliographical details are followed where possible by summaries and assessments. Essays published in Brontë Studies are as a rule excluded, as are books reviewed in Brontë Studies; readers are directed to the publisher’s website, www.tandfonline.com, for online access. The author of each entry is indicated by the author’s initials in brackets following the entry.
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Pub Date : 2021-11-11DOI: 10.1080/14748932.2022.1996694
Adelle Hay
The novels of the Bront€es are so rich that new readers are able to find connections and points of relatability over 170 years after their initial publication. Agnes Grey in particular has a very modern voice and style. Robin L. Inboden’s new edition, published by Broadview Press, treats Anne Bront€e’s first novel with the care and attention that it deserves; the text of the novel is presented with an excellent introduction and carefully chosen contextual material. Agnes Grey was first published in 1848 and made up the final volume of a threevolume set, of which Emily Bront€e’s Wuthering Heights made up the first two. Most reviewers at the time were so shocked by Wuthering Heights that Agnes Grey rarely received acknowledgement. Some critics wrote that Agnes Grey was ‘more acceptable’ in its subject matter and tone, but it was commonly described as ‘less powerful’ than Wuthering Heights (p. 225). It has also suffered a legacy of being compared to Charlotte Bronte’s novel Jane Eyre, with one contemporary reviewer writing in Douglas Jerrold’s Weekly Newspaper that ‘The heroine is a sort of younger sister to Jane Eyre, but inferior to her in every way’ (p. 226). As such, Agnes Grey has become the neglected novel of the neglected Bront€e sister – Mrs. Humphry Ward ignored it completely when writing her groundbreaking and influential introductory essays for the Haworth edition of The Life and Works of Charlotte Bront€e and her Sisters, published in 1901. Inboden, however, argues that Agnes Grey was perhaps the most radical governess novel of its time. It avoids the temptation of the ‘fantasy of social transformation through marriage to someone of a superior class’ (p. 27), and instead focuses on Agnes’s very real and very relatable daily struggles. We see Agnes coping with the loneliness and isolation of her governess job, while also developing her teaching strategies and navigating her family’s financial problems. The section of the Introduction titled ‘The Victorian Governess in Life and Fiction’ (p. 23) provides historical context about the liminality of the role, along with commentary on the very limited options available to women of that social class and time. In writing about the romanticisation of governesses in fiction, Inboden concludes that ‘Agnes Grey’s greatest contribution to the governess novel may be a dose of reality’ (p. 27). Broadview Press aim to make their titles as accessible to as wide a range of readers as possible, and Inboden definitely achieves that with this edition. Not only does the Introduction put Agnes Grey into context as a governess novel, but it also discusses the importance of animal rights, and Anne Bront€e’s criticisms of society (particularly in terms of morals, religion, and ideas about masculinity). The Introduction gives a brief overview of Anne Bront€e’s life, including an important discussion about the temptation to read Agnes Grey as entirely autobiographical. There are also four excellent appendices. These
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Pub Date : 2021-11-05DOI: 10.1080/14748932.2021.1995241
R. Butterworth
Anne Brontë’s ‘A Hymn’ was written at a time when hymns were ‘of the moment’ and many women were engaged in hymnody. It shares with Anne’s other religious poems a vision of God as mighty, powerful, loving, merciful and actively interventionist, and a vision of humanity as feeble, inadequate, inconstant and inconsistent. It is distinguished by its exploration of two versions of the universe: one informed by God its Creator and the other its Godless alternative. ‘A Hymn’ has many traditional stylistic features of hymns and on one level belongs to a familiar class of hymn, the hymn of doubt; but it is also radical in facing head-on an atheistic vision emerging in the nineteenth century.
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Pub Date : 2021-10-02DOI: 10.1080/14748932.2021.1952783
Bob Duckett
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Pub Date : 2021-10-02DOI: 10.1080/14748932.2021.1943217
J. Ogden, Peter Cook, Sara L. Pearson
This list is part of an annotated bibliography of scholarly and critical work. The earlier parts were published in Brontë Studies, 32.2 (July 2007), 33.3 (November 2008), 34.3 (November 2009), 36.4 (November 2011), 37.3 (September 2012), 39.1 (January 2014), 41.3 (September 2016), 42.4 (November 2017), 43.4 (October 2018), 44.3 (July 2019), 44.4 (October 2019), and 45.4 (October 2020). The present part covers work published in 2018. Bibliographical details are followed where possible by summaries and assessments. Essays published in Brontë Studies are as a rule excluded, as are books reviewed in Brontë Studies; readers are directed to the publisher’s website, www.tandfonline.com, for online access. The author of each entry is indicated by the author’s initials in brackets following the entry.
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Pub Date : 2021-10-02DOI: 10.1080/14748932.2021.1952788
Adelle Hay
This should come as a relief to anyone perturbed by the seemingly widening divergence of mythologised representations of the Bront€es from their historical originals multiplying online and in print. And yet in the first two wonderful Bront€e Mysteries novels—the third will be published in November 2021—we find the boldest divergence yet. Starting in the summer of 1845, when in reality the four siblings found themselves back together at the parsonage, the novels imagine Charlotte, Emily and Anne secretly becoming amateur detectives, a wry anticipation of their covert literary careers gestating during the first two adventures. Investigating the unexplained disappearance of a young woman from a nearby country estate and, in The Diabolical Bones, the discovery of human remains bricked up in the walls of a remote moorland manor, the sisters interrogate, deduce, and collate their material through wonderfully satisfying plot twists. Where she could have written a pastiche of 19th-century literary style, Coleman narrates the action in elegant contemporary prose, rich in gothic detail and lively characterisation. Her extensive knowledge of the minutiae of the Bront€es’ lives and the wellsprings of their inspirations is enlivened by an almost clairvoyant intuition that allows her to fill the gaps in the historical record so convincingly. Her portraits of the Bront€e household, and particularly the three sisters, are mesmerising. Their dialogue is particularly persuasive, as each of the sisters’ voices rings with characteristic inflections, sparking when tensions between the canny and resolute Charlotte and the intuitive, unsociable Emily are moderated by the voice of judicious Anne. It is in some ways moving to have them reconstructed so carefully and so authentically: here are the Bront€es alive and vital, burning with exuberant ingenuity and curiosity. Yet Coleman is too witty and astute to be sentimental about the family and too appreciative of those aspects of their characters that contemporaries found unnerving or difficult to see them as anything but. Bold, inventive and breathlessly plotted, The Vanished Bride and The Diabolical Bones will captivate all those who already love the Bront€es, those who are coming to them for the first time, and those who are yet to encounter them.
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