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Author Archives: Janet Mullany


Well, it’s sort of official…after much hearsay, speculation, whispers and the presence of a huge elephant in the drawing room, NAL editor Laura Cifelli makes this statement on the future of the Signet Regency line in the February edition of Romantic Times:

“The market was no longer sustaining two to three books a month. But we love the program and we believe in our authors, so we are planning on publishing Signet Regency special event titles and reissues in the future.”

Thoughts, reactions, anyone? And maybe this is a good time to talk about our future plans?

Janet

I know, I know, what can I say…not a regency romance among them, but here are the books I’ve enjoyed this year in no particular order. I patronize the local library where I haunt the new release shelf and read mostly on my commute (40 minutes on the Washington, DC metro).
Adam Hochschild’s wonderful book about the English abolitionist movement gave me an entirely different take on Georgian/Regency England. One of the points Hochschild makes is that the abolitionist movement could have only happened in England because of the country’s excellent infrastructure (roads and mailcoaches), and the population’s high level of literacy and passion for politics–even though few could vote, petitions and boycotts had great power. Can you imagine the sweet-toothed English boycotting sugar? They did, in the 1790s, just one example of how the movement crossed boundaries of class and gender. One of the few history books I’ve read as avidly, and found as moving, as a good novel. A funny book about suicide? Yep. A group of odd, sad, hopeless people meet on a rooftop from which they all intend to jump, and instead become friends–sort of–Nick Hornby isn’t a writer who gives in much to sentiment. Alternately touching, laugh-aloud funny, and savagely satirical.
This is the book I got for xmas and my latest commuter read which I finished last night, although it was a book I wanted to go on for a lot longer. Zadie Smith can make you laugh at and care about her characters, while making you think about Big Things like families, love, education, culture, identity. Rich, satisfying, thoughtful, bighearted fiction.

I was really surprised at how much I liked Ain’t She Sweet. Normally I run screaming from any book set in a small (particularly) southern town and/or dealing with characters suffering decades-old high school angst. But Phillips’ characters, particularly her complex, appealing hero and heroine, are grown-ups who can come to terms with their pasts, while still making some pretty dreadful mistakes in the present.

OK, I’m cheating a bit. I think this book came out a couple of years ago, but I read it this year and loved it. Imagine the Sopranos at the Tudor Court–the power-hungry, manipulative Howard family using the women of their family as pawns (“Yes, it’s Tuesday, Mary, so today it’s your turn to become the king’s mistress”). The book is about Mary, the sister of Ann Boleyn, briefly Henry VIII’s mistress, her troubled relationship with her sister and family, and how she breaks free of them. I love Gregory’s brilliant use of language, particularly dialogue, which evokes early sixteenth-century English without sounding archaic or anachronistic.

Another cheating entry–published a few years back, but new to me this year. Yes, it’s about SM. I loved the voice of this book–Carrie’s ironic, bookish take on her adventures as a sex slave. It’s suprisingly funny and sweet. And, oh yes, very sexy indeed, even if you think you’re not into that sort of thing. Its author Molly Weatherfield wears another hat as a writer of equally wonderful regency-set historicals.


Anna Maxted is a British chicklit writer–roughly speaking–who isn’t afraid to take on big issues and real angst (date rape, bereavement, eating disorders) and in her latest, adultery. At the same time she’s genuinely, hysterically funny and her heroines don’t lapse into the self-pitying whines I tend to associate with chicklit. And how’s this for an opening line (maybe she’s a contender for the successor to Jane Austen title we discussed a week or so ago?): Every woman likes to be proposed to, even if she knows she’s going to refuse.


Here’s the best re-read of my year, Flora Thompson’s memoirs of growing up in the English countryside in the late nineteenth century. A great source for small details of country life and a sense of an era about to come to an end. My great-aunt told us it was exactly as she remembered her early childhood. The book may be out of print here, but it’s rediscovered and cherished by every generation in England.

Looking ahead to 2006…In 1988 Catherine MacCoun published a book called The Age of Miracles, about a thirteenth-century novice who is possibly–or not–a saint, and what happens to her when she leaves the nunnery. I love this wry, thoughtful, beautifully written book–she’s another writer, like Gregory, who can evoke the past and not sound overly historical. I’ve re-read it many times and I guess it’s a romance, though nothing like any other medieval I’ve tried and flung against the wall. At the time I wouldn’t have been caught dead reading a romance (now I’m only mildly embarrassed but it’s so difficult to read with a paper sack over your head on the commute). After (oh, gasp, this makes me feel ill) eighteen years in the strange twilight world before the second sale, Ms. MacCoun’s next book comes out in May. And I can’t wait to read it.

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I’m creeping into Cara territory here with a theater-related post–about the world of pantomime, a peculiarly English form of theatrical entertainment that is still popular today. It’s an incongruous mix of medieval mystery play, Commedia dell’arte, vaudeville, and musical comedy. The Principal Boy (male lead) is played by a woman wiht great legs. There’s a stock female character called The Dame who is played by a man (the Monty Python crew were not the only ones to cross-dress at the drop of a knicker). Audience participation is encouraged. In its current manifestation the pantomime features stars from TV soaps and is full of political jokes and double entendres.

Commedia dell’arte, a comedic form with stock characters, tumbling, acrobatics and buffoonery came from Italy to England in the seventeenth century. The most popular characters–Harlequin (a wily servant), Columbine (female lead) and Pantalone (comic old man–sorry, this was never very PC)–infiltrated the theater, and an entertainment was developed in three parts: A serious or classical work, followed by a lighter popular tale (Cinderella or Aladdin, for instance, still popular today as panto subjects), and concluded with the Harlequinade. The Harlequinade featured acrobatics and slapstick and was introduced by an elaborate transformation scene using all the latest hi-tech devices of the theater. Imagine that you’ve gone to the theater to see “King Lear.” After the tragedy, the same actors perform a musical version of “Cinderella.” After a lot of light effects, music, moving scenery, fountains, women in tights flying etc., the actor who played Lear does some funny stuff with a dog and a string of sausages, as a minor player in the spills, chills and thrills chase scenario of Harlequin and Columbine. Ah, a full night of the theater in eighteenth-century London–all human life is there. There’s no wait at the bar because you brought your own, and no wait for the bathrooms because there are none.

Joseph Grimaldi was England’s most famous clown and so popular that the character of the Clown became the lead in the Harlequinade. At one time he played the Clown at both Covent Garden and Sadler’s Wells, dashing from one theater to another. He was a skilled dancer, mime, acrobat, actor and sleight of hand magician. The Harlequinade died out, possibly coinciding with the death of Grimaldi, its greatest clown, but the second part of the original three-part entertainment adopted some of its characteristics (the slapstick and tumbling) to evolve into the pantomime, played at Christmas and Easter. In Victorian times the Drury Lane Theater was the leading presenter of elaborate pantomime performances, and stars of the music hall made guest appearances.

For great pics and musical examples (including Grimaldi’s signature song, “Hot Codlins” with audience participation) go to
www.peopleplayuk.org

www.its-behind-you.com

Here’s the complete text of “A History of Pantomime” by R.J. Broadbent (1901) www.gutenberg.org
www.pantoscripts.com

Meanwhile, so you can savor this sophisticated form of comedy, here’s an excerpt from a modern version of Aladdin. Widow Twanky (the Dame) is doing laundry with her sons Wishee and Washee:

DAME: Here, did I tell you I nearly won the football pools last week.

WASHEE: Did you really mum?

DAME: Yes I did. My homes were all right. My aways were all right. ( Pulls tatty pair of bloomers from the tub). But my draws let me down.

WISHEE: ( Looking in the tub) I see you’ve got the laundry for ******* United again ( pulls out strip – holds it out for everyone to see, with big holes in it). Hey, what are these holes in it?

DAME: Well, everyone says they’ve got holes in their defence. That proves it.

WASHEE: ( Pulling out another huge pair of bloomers) And whose are these?

DAME: I could do with some of these. ( Singing to tune of My Fair Lady) “All I want is some knickers like these, to keep me warm from my neck to me knees, oh wouldn’t it be lovely.” Did you know I once had some knickers made out of a Union Jack.

WISHEE: Weren’t they uncomfortable?

DAME: Not once I’d taken the flagpole out.

happy xmas!
Janet


The world of Jane Austen scholarship was shaken to the core by the recent discovery of a “lost” excerpt from Pride and Prejudice. Currently undergoing rigorous handwriting, paper, and ink analysis, the fragment reveals a daring stylistic experimentation that has already created fierce controversy in academic circles. The short scene depicts Jane Bennett, who, while waiting for Lizzie to return from Derbyshire, seeks outside help in rescuing Lydia from ruin. With the violent rejection of the classical style,what was Austen intending? One cannot help but wonder, had she pursued this course, how the introduction of a new character, a possible rival for either Bingley or Darcy, would have influenced the romantic element of the novel; and certainly it seems, in its revelation of the seamy underbelly of Meriton, to indicate a possible bloody gang shoot-out as the book’s climax.

It is with great pleasure and the deepest honor that the Risky Regencies Blog presents the world debut of this important addition to the Austen canon.


She’s cool as a cucumber, this Miss Bennett. Not what I expected, not after what I’d heard in the village about the family. She receives me in a drawing room furnished with old-world stuff–nothing fancy, old pieces, the whole set-up breathing respectability and solidity.

“Thank you for coming, sir.” She gestures to a chair, one of those spindly English things. The old dame who took my hat and gloves stays with us in the room, picking away at an embroidery frame to preserve the decencies, I guess.

When Miss Bennett leans to pour tea her gown slips up revealing a pretty good ankle. Not bad, not bad at all, but this is business, and I let her mess around with the teacups while keeping an eye on her. She’s too genteel to offer me a Scotch, but for the moment I’m playing on her terms.

“The weather has been quite remarkably good,” she offers, and the slight tremor in her hand reveals her agitation. “I think, however, we can expect some rain later this week.”

I decide to help her out. “Sure. Say, Miss Bennett, you didn’t call me here to talk about the weather.”

“You are correct, sir.” She produces a small, lace-edged handkerchief and gives a genteel sniffle. “I daresay you have heard…how could you not have…the disgrace that has fallen upon our family. Forgive me, it is dreadful indeed. My youngest sister, Lydia, has…has fallen into the hands of an adventurer and has been persuaded to elope. I think he does not intend to marry her. Sir, you must help us find them.”

“Wickham?” I ask. Things had gotten too hot for him in London, after he’d fallen out with the boys at White’s, and the whole set up stinks of him. He’d tried to set up a rival operation to Bingley and Darcy, but they were too clever for him, and they’d left town after they’d sucked the neighborhood dry. Even so, they’d forced Charlotte Lucas to throw in her lot with the de Bourgh Gang and last I’d heard she was engaged in a struggle for power with Collins.

“I fear so.” She plies the handkerchief, a picture of bewildered innocence. “My Papa and Mama are prostrated with grief, and I do not know to whom I can turn until Lizzie comes home.”

Right, her father operating some sort of scam from his study and her hophead of a mother high as a kite most of the time from all I’ve heard, continually sending her daughters into town to buy more of the stuff at that fake haberdasher’s. “Lizzie?”

“My sister. She will know what to do. She is in Derbyshire, and on her way home even as we speak.”

“Up north?” This stinks more and more. If the Wordsworth siblings, that cold-hearted team of killers, are part of the scheme, there’ll be blood all over this polite drawing-room before we’re finished.

“It is dreadful indeed.” She dabs at her eyes.

“You’re good, sister. Real good.”

“I beg your pardon?” She draws herself up and looks at me with disdain.

“You’re good, real good, all that fake innocence, but I’ve been made a sap of one too many times by dames like you. It’s time to come clean, dollface.”

“Sir!” She leaps to her feet, doing the heaving bosom thing. “I regret we will have no need of your services. Please leave this house immediately, Mr. Spade.”

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