Danny Karlin

Nine years ago Herbert Tucker wrote an excellent first book, Browning’s Beginnings; like many first books it gave the impression of being a labour of love. Tucker’s second is a tremendous disappointment. It has all the inflated idea of itself that the title suggests. Browning’s Beginnings was short, keen and suggestive. It used Post-Structuralist approaches with verve and point. It was, in nothing but the good sense of the word, a modest book. Tennyson and the Doom of Romanticism is not short, neither is it modest. It is the Big Book which American academics must ‘produce’. The brilliant close readings which distinguished the earlier book can still be found, but their context has altered: they emerge against the grain of the argument, not as part of it. Exit Young Tucker, Assistant Professor at the University of Minnesota; enter Tucker Senior, full Professor at the University of Virginia. And Tucker is robed in professorial garb from head to footnotes.

‘My dear Lady Olliffe,’ Robert Browning wrote in March 1877:

Henry Farr is – or, as it turns out, is not – the ‘Wimbledon Poisoner’ of Nigel Williams’s title. He is a Pooterish solicitor, middling and muddling his way through life; the plot concerns his repeated farcical failure to murder his awful wife, bumping off (he thinks) other innocent people instead. Then, as the plot unravels and a real poisoner shows his hand, Henry discovers that his wife is not so awful after all. Two kinds of decision mark the outset and outcome of this sequence of events, in the course of which Henry moves from tentative dimness to self-possession. In the book’s opening words, ‘Henry Farr did not, precisely, decide to murder his wife. It was simply that he could think of no other way of prolonging her absence from him indefinitely.’ But when the book closes, Henry faces this very prospect of indefinite togetherness with equanimity: ‘He thought about Elinor, and why he was still with her and what it would be like in the weeks and months and years to come … Killing her would have been a very stupid thing to have done. There was, he decided, as he turned over to address himself to sleep, quite a lot of mileage in her yet.’’

Jane Austen’s work seems, at first, hospitable to that literary parasite, pastiche: there isn’t much of it, so ersatz continuations or alternative narratives must satisfy the hunger for more; at the same time, the passionate familiarity which many Jane Austen readers have with her novels (demonstrated in Kipling’s wonderful story ‘The Janeites’) ensures a ready frame of reference for the imitator. But Jane Austen is, in fact, notoriously hard to ‘do’ convincingly. Joan Aiken (their names are horribly homophonic – could this have given her the idea?) is the author of Mansfield Revisited, which seems to have been successful enough to persuade her to try the market again. I have only ever read one such work, the continuation of Sanditon by ‘a Lady’ published some years ago; the bitter taste still lingers on, and I have a grudging sense that Jane Fairfax may not be quite as thin a dish of gruel as that. Instead it has an unappealing, mixed-up wrongness of flavour. It wants to be both like Jane Austen (to substitute for the real thing) and to revise Jane Austen (to be a real thing itself). Aiken disastrously fails to recognise that these are incompatible aims. She plunders Austen’s novel (sometimes quoting it verbatim or paraphrasing it closely, though ‘her’ Miss Bates or Mr Woodhouse or Emma have embalming-fluid in their literary veins); other characters derive weakly from other Austen novels (a brutal fop from Northanger Abbey, a kind-hearted mother from Sense and Sensibility) and one has strayed in wearing Mrs Jellyby’s clothes from Bleak House. At the same time, Aiken misreads Emma in crassly uninteresting ways. The plot turns on Emma’s fantasies about sexual relationships being mistaken, yet Aiken makes her daft suspicion of a liaison between Jane and Mr Dixon, formed at Weymouth, turn out to be true after all. This makes absolute nonsense of Jane’s relationship with Frank Churchill: the upright, pure-hearted, melancholy Jane is represented as choosing to enter into a clandestine engagement with a man she does not really love, and (even more ludicrously) is endowed with a romantic yearning for Mr Knightley worthy of Harriet Smith herself.’