#Harriet Steel

[jolieeason]

October 2024 Wrap-Up

Here is what I read, posted, won, received, and bought in October. Let me know if you have read any of these books and what you thought of them. Books I Read: Books from indie authors/publishers: Books I bought: If the Duke Dares by Darcy Burke Vacancy by Linda Kage Playing High by Beth Pellino-Dudzic Tentacles and Teeth by Ariele Sieling The Moving House by Duncan Ralston The Magpie…

[didanagy]

SENSE AND SENSIBILITY (1995)

dir. ang lee

[weirdlookindog]

Lo spettro (1963)

AKA The Ghost; The Spectre

[bethanydelleman]

Writing Villains (Advice from Jane Austen)

One of the reasons that I find Jane Austen's novels so wonderful is that they have amazingly realistic villains, some that are fully fleshed out characters. Austen's biggest strength is that she gives her villains clear, logical motives. In fact, for many of her villainous characters you can turn the entire story around and see a rational story from the other side.

For example, Lucy Steele. She doesn't attack Elinor out of mindless evil, but because Edward Ferrars is her golden ticket to wealth and she knows that Edward loves Elinor. Lucy might twist the knife a little on Elinor out of sadism, but generally she attacks Elinor in an attempt to secure Edward. When it comes to other characters, Lucy is overly sweet if she wants something from them, otherwise she acts normally. As an example, she leaves Marianne alone because Marianne is not competing for Edward and also can't do anything for Lucy. Anne, Lucy's sister, likes her. Lucy has friends and family she stays with, she's a fairly well-rounded person.

You can put yourself in Lucy's shoes, you can turn the entire narrative on it's head and play it out from her perspective and it would make complete sense. You could even make Lucy sympathetic! She probably sees herself as a hardworking underdog, trying to wrest her one chance at prosperity away from the conniving Elinor Dashwood. I'm sure she thinks the pain she causes Elinor is justified.

If you can't do that with your villains, then there is a good chance they are just evil for evil's sake. I picked Lucy Steele on purpose because I hate when the entire motivation for a antagonist female character is "bitches be crazy". Bitches may be mean, but almost always for a good reason.

Even Mrs. Norris, who is probably the most cruel of Austen's female villains, can be perspective switched. Her life is about being useful to the Bertram family so she can feel important because her married status/wealth is lower than she wished. As she must always be deferential towards the Bertrams, she takes out her negative emotions on those below her, the servants and Fanny, while also showing off how good she is at "managing" those people. (And yes, she is your childhood bully)

We often hear her perspective and she clearly sees herself as a useful part of the family and a defender of Sir Thomas's wealth. She thinks she's a good person! Which is also an important point: most people doing wrong do not believe that they are doing wrong. That is what really makes a villain scary. Mrs. Norris thinks she's helping Fanny in a very twisted way by teaching Fanny her station in life. If you asked her, she'd give you a self-justified answer and she'd probably actually believe it.

Another way to do a good villain is to just make a person very selfish. Henry Crawford doesn't sit around all day laughing about how much pain he causes women, he doesn't think about it. He only thinks about the fun of flirting for himself, not the harm to others. The glimpses we get into his perspective are not cruel at all. It's the same with Willougby, he thinks only of his own pleasure and tries very hard to ignore that he has crushed Marianne and destroyed Eliza Williams. When he is forced to accept that people were hurt, he blames everyone but himself.

Wickham thinks that he's a victim, Caroline Bingley is ambitious and doesn't care who she steps on to get to the top, Mr. Elton is insulted that Emma could even dream he's a match with Harriet but he can't touch Emma so he punches down at Harriet. They all make sense, they all probably believe that their actions are justified.

Also, imagine taking the heroine/hero right out of the story, would the villain still act the same way? If Anne didn't exist, Mr. Elliot would still try to bring himself into the Elliot family because he was afraid of losing the title. If Elizabeth didn't exist, Wickham would have had another favourite in Meryton. If Fanny didn't exist, Mrs. Norris would have found some other puppy to kick. The villains don't just appear for the plot of the main characters, they have their own reasons for moving around and messing shit up.

Lastly, explaining but not excusing (though unfortunately some people will excuse anyway but that's not your fault). Mary Crawford is mercenary and doesn't seem to believe that love is even a real thing. It's pointed out several times in the novel that her defects have to do with being raised in an immoral environment and a broken home. She was taught by her aunt to marry for wealth and disregard love. Austen doesn't excuse Mary, she doesn't give her a happy ending, but she does explain how she came to be. She's not just greedy, she has been taught that wealth is the best recipe for happiness. As an adult now, it is her responsibility to question that maxim or remain a villain.

Austen wrote amazing morally grey characters and "villains" (a term I used a little liberally here, some of them probably only count as antagonists, not full blown villains). I love how real and human she made her characters, it's something I aspire to myself!

Linking my Caroline rant because it's related, people remove her motives so often and flatten her into a "bitches be crazy".

[aunt-bridget]

It was going too well wasn’t it? Harry got to dress up in the tight skirt, sweater and slutty heels. The glasses added that touch of class as he preened in front of the mirror. But his companion for the night wasn’t done…..shit loads of tape binding the pretty sissy had been swiftly applied and the wrap gag kept Harry quiet as he writhed around on the hotel bed. He couldn’t do too much when the skirt was hitched up and his little cock was put in its new home. The tiny, steel cage locked snugly in place. Happy ‘Harriet’ is one sorry little bitch.

[janeeyreofmanderley]

( I know I know....I haven't read Mansfield Park)

(argh Lucy and ROBERT! Sorry brain was in stand by)

[francesderwent]

the parallels and repetitions we find across Jane Austen novels…Harriet Smith is living the plot of Persuasion but without Anne’s wisdom and steadiness to guide her…Jane Fairfax is an echo of Lucy Steele, if Lucy had been more worthy…

[princessofmissouri]

zenobia

why allow the tendrils of the heart to twine around objects (abject) (for harriet jacobs), 2023

steel

[mysticstarlightduck]

Six Sentence 'Monday'!

This was supposed to be a Six Sentence Sunday post, but since I missed the tag yesterday, here goes "Six Sentence Monday" instead! Thank you for tagging me, @pluttskutt!

This snippet is also what I like to call: Augustus snaps and shows their pursuers precisely why he was once called the Soulsnatcher (It's slightly more than 6 sentences, I think, but it wouldn't make sense without context!)

[...] Augustus laughed, frustrated, nearly manic with rage, as the thugs surrounded them yet again. This mercenary had just hurt the only person Augustus truly cared about, and now still had the gall to try and mock them - this was the final straw over an already hellish week, and it was really, quite absurd.

He whirled backward, so fast that Harriet was surprised she didn't hear anything snap in his neck. He glanced at her injured arm for a moment, worry written in his features, before steeling himself and walking slowly towards the approaching mercenaries, despite them scrambling to reload their pistols.

When Augustus spoke again, his voice was much deeper, and garbled, and the sarcastic smile on his lips looked more than slightly off "Well, I'm going to enjoy this - it seems it's been a while since someone taught you the proper meaning of bloodshed!" The summoning mark shone around his wrist and the mercenaries fired, only for the bullets to stop mid-air. The necromancer glared at them, expression turning deathly serious. "You should've left us alone when she gave you the chance" [...]

Tagging (gently): @little-peril-stories, @oh-no-another-idea, @rickie-the-storyteller, @illarian-rambling, @i-can-even-burn-salad, @clairelsonao3, @doublegoblin, @talesofsorrowandofruin, @starlit-hopes-and-dreams, @kaylinalexanderbooks and OPEN TAG

[jolieeason]

WWW Wednesday: October 30th, 2024

WWW Wednesday is a weekly meme Sam hosts at Taking on a World of Words. The Three Ws are: What are you currently reading? What did you recently finish reading? What do you think you’ll read next? Here is what I am currently reading, recently finished, and plan to read from Thursday to Wednesday. Let me know if you have read or are planning on reading any of these books!! Happy…

[didanagy]

SENSE AND SENSIBILITY (1995)

dir. ang lee

[weirdlookindog]

Lo spettro (1963) - Belgian poster

AKA The Ghost, The Spectre

[bethanydelleman]

what do you think would have been the most personally tragic (plausible) outcomes for each of the heroines?

Catherine Morland - She was somehow forced to ride in John Thorpe's gig for a third time.

Now I'll be serious. I refuse to imagine my dear Catherine in a tragedy.

Marianne Dashwood - Willoughby seduces her and she ends up pregnant and ruined. I've written this, twice. Also, she could have died from her fever

Elinor Dashwood - Edward marries Lucy Steele, she ends up resigning herself to a prudent but loveless marriage or never leaves home, occasionally hearing through her family that Edward is completely miserable

Elizabeth Bennet - marries someone she doesn't really respect and becomes a female version of her father

Jane Bennet - never gets over Bingley, eventually settles for a loveless marriage and it kills her inside

Fanny Price - Edmund marries Mary Crawford and Fanny watches in silent agony as she destroys Edmund's (weak) moral core and he becomes an entirely different person. William's ship is lost and Fanny never hears from him again

Emma Woodhouse - kind of cheating since it's in the book: Mr. Knightley does fall in love with Harriet Smith and stops coming to Hartfield as often, leaving Emma loveless and lonely

Anne Elliot - Captain Wentworth marries Louisa Musgrove out of duty, he also realizes his love for Anne but sees no way out. Anne remains within his sphere through her connection to the Musgrove family, she is aware that he loves her but there is nothing either of them can do about it. After a few years and two children, Wentworth confesses and Anne is forced to remove herself to the house of a distant family member. She eventually marries and Wentworth takes on more and more risks as a naval officer, leading to his ship being destroyed and his entire crew dying. He survives and feels so guilty that he eventually hangs himself, leaving his disillusioned wife and kids to fend for themselves (don't worry, Louisa has a great family and a good fortune).

Lady Susan - Sir James refuses to die and escapes all of her attempts like a clueless cartoon character who cannot be killed. Her daughter is also widely reported to be more beautiful than her.

[gurumog]

An Angel for Satan (1966) Un Angelo per Satana Discobolo Film Dir. Camillo Mastrocinque

Barbara Steele as Harriet Montebruno / Belinda

[warrioreowynofrohan]

Rereading Emma, I’m noticing the degree to which it includes an inversion of Sense and Sensibility: in both of them, a young man is in a secret engagement with a poor woman of whom his family would strongly disapprove, but he appears to have fallen in love with another young lady whom he met after the start of the engagement. In both of them, the woman he is engaged to notices this other attachment.

The contrast is in the utterly different personalities of Jane Fairfax and Emma relative to Lucy Steele and Elinor. Lucy is posessive and feigns friendship with Elinor in order to taunt and watch her, whereas Jane is distant from Emma and would rather break the engagement than have him marry her out of obligation. In personality, the compare-and-contrast effect is heightened by Jane Fairfax and Elinor Dashwood - in opposite positions in the real or supposed triangles - having extremely similar personalities: reserved, polite, self-controlled, valuing morals and good behaviour over personal comfort, and willing to bear patiently with difficulties.

Emma, however, behaves extremely badly by Jane in spreading (if only to Frank) the groundless speculation of a romantic connection between Jane and Jane’s friend’s husband. In addition to this being extremely insulting in particular to a woman like Jane with very high moral standards, Emma (not knowing of the engagement) is under the impression that Jane is going to be a governess, and being suspected of such a thing, if it got spread around by gossip, could be extremely destructive to Jane’s job prospects. Though Emma has no real malice, one could easily see Jane feeling similar about her to how Elinor feels about Lucy.

The other contrast with S&S, of course, is that neither Emma nor Frank is either in love with each other; they just have a lively friendship and enjoy other people shipping them (Frank to conceal his actual engagement; Emma for reasons of vanity and because he’s really the only person who’s both socially eligible and close to her age that she’s ever met in her limited social circle).

The other thing that stands out is that, relative to Austen’s other novels, Emma is much more of a sitcom. Sense and Sensibility, Pride and Prejudice, and Persuasion all have comparatively linear narratives revolving around 1-3 relationships involving the main characters. Emma’s much more episodic, without either Emma or Mr. Knightley realizing their feelings until later in the book, and with very low stakes for both of them through most of the book. Austen’s novels seem to alternate in this way. Northanger Abbey (written first, but not published at the time) satirizes popular melodramatic novels, and so to a lesser degree does Sense & Sensibility. The lighter and wittier Pride & Prejudice is followed by the more serious and sober Mansfield Park, which is clearly in conversation with P&P with the strong parallels and contrasts between the two in characters, relationships, and scenes. Then the lighter and more comedic Emma follows the more serious MP, and is in term followed by the more serious and dramatic Persuasion. This feels deliberate on Austen’s part, and would have given her contemporary readers a good amount of variety.

Emma’s an interesting character in that, while her flaws (mainly her snobbishness towards the Martins and how manipulative she is regarding Harriet’s interactions with them, as well as her bad behaviour to Jane) do bother me more than any of Austen’s other protagonists, she also has virtues I couldn’t imagine having (her father is so aggravating, and she’s so patient and tactful and good at understanding how to manage his interactions with guests in a way that is comfortable for everyone). Really, despite very different social classes, Mr. Woodhouse and Miss Bates are notably similar in being very kind and well-meaning but also very irritating, and taking a long time to say very little. I feel like that may be an intentional parallel.

My sympathies in the book (apart from Jane Fairfax and Mr. Knightley) are most with Mr. John Knightley, Isabella’s husband, and if I were in the book he’s probably the one I would most enjoy spending time with. I too would get annoyed sometimes with many of these people! I too weary of meaningless small talk and local gossip! I could happily accept a little occasional ill-humour from him in exchange for the rare blessing of thirty minutes’ rational conversation.