Jane Austen Society of Australia is preparing to celebrate the author's 250th anniversary
A Regency costume parade in the UK's Bath, part of the city's annual Jane Austen Festival. Credit: Alamy Stock Photo
Although Austen's books were popular during her lifetime and have proved even more so since her death, no one thought to create a Jane Austen society until 1940. This was when Englishwoman Dorothy Darnell – horrified at the thought of the cottage in Chawton, Hampshire, where Austen had lived from 1809 until shortly before her death in 1817 at age 41, might be destroyed – established a society to raise funds to preserve it. Societies have since proliferated like blushes at a Regency ball, and there are now groups dedicated to the author in at least 18 countries, including Pakistan, Japan, Brazil, Italy and Australia, where more than 1000 people are members.
Historian Susannah Fullerton, a passionate Austen devotee who has written four books about the author, describes her as a 'genius' whose work has never dated, adding, 'She knew what made people tick.' She's president of the Sydney-based Jane Austen Society of Australia (JASA), the largest literary society in the country. Its members debate aspects of Austen's novels, hear guest speakers and socialise over afternoon tea. There's no aspect of the author's life and work that isn't worthy of discussion, she says: 'At one event, we had an amazing chat about Jane Austen's use of dashes in her fiction!'
The Jane Austen Society of Melbourne assembles every two months at the Royal Philatelic Society of Victoria in Ashburton. At a recent meeting, one member gave a presentation about her Austen-flavoured visit to the UK. The other attendees – 24 women and one man – listened attentively. Later, over tea and cake, conversation turned to the dilemma of finding the perfect costume for 'Jane Fest' – the society's end-of-year event, featuring a talk and special afternoon tea – followed by discussion of the latest Austen-themed books and screen adaptations (such as the new BBC production Miss Austen , based on the bestselling 2020 novel by Gill Hornby and starring Keeley Hawes and Patsy Ferran). Photographs from small- and big-screen adaptations filled the room, including that image of Colin Firth's Mr Darcy emerging from the lake at Pemberley in the BBC's 1995 Pride and Prejudice miniseries (still the finest adaptation of Austen's most popular novel, everyone agreed).
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Meanwhile, JASA is planning a special service at St James' Church on Sydney's King Street on August 3 and a weekend conference in Canberra at the end of October, which will include presentations by local and international experts.
In the UK, the year began with a Pride and Prejudice festival at Chawton, with Austen's other novels celebrated during the year. Bath, a setting for many of them, will host its annual September festival.
So what would Austen herself make of all this fuss? The author never sought recognition for her work, with four of her novels published anonymously in her lifetime. Given her own love of reading, though, perhaps it's safe to assume she would've been chuffed. For as she says, through much-loved Austen beau Henry Tilney in her fifth novel, Northanger Abbey : 'The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.'
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5 hours ago
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The Glastonbury 'death' chant that sparked a firestorm
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News reporting: Kneecap led the crowd in expletive-laden chants about the British Prime Minister Keir Starmer after he said it wasn't appropriate for the group to perform. Sydney Pead: For background, one of the rappers in the band Kneecap, he's known as Mo Chara, he was already facing charges under the British Terrorism Act. He's accused of supporting a terror group at a live Kneecap show last November. News reporting: One of its members was charged for allegedly displaying the flag of Hezbollah, a prescribed terrorist organisation, at a gig last year. He's denied the charge. Dorian Lynskey: That was the story going into the festival. That was why there was pressure. I mean, Prime Minister Kier Starmer, when asked about it, said: oh, I don't think Kneecap should be playing Glastonbury at all. And that's why the BBC wasn't live streaming it. Yes, it all stems from that incident, that police investigation, yeah. Sydney Pead: So, Dorian, all of this ignited this huge firestorm in the wake of Glastonbury. The Glastonbury organisers distanced themselves from Bob Vylan's performance. They said their chants very much crossed a line and that there's no place at Glastonbury for anti-Semitism or hate speech or incitement to violence. The PM described the comments as hate speech, and it even led to two of those Bob Vylan members having their US visas cancelled before their upcoming US tour. But lastly, these two performances have resulted in another criminal investigation being launched. But let's talk a bit more about these two bands, because they are by nature protest groups, aren't they? Kneecap in particular is a political act. Dorian Lynskey: I think Bob Vylan are nothing without that, more so than Kneecap, because Kneecap have a kind of weird combination of sort of almost like cartoon comedy rap and very sincere politics. But by their nature, by their essence, they're political, because they're often rapping in the Irish language. I mean, they are Republicans, they want a united Ireland. And so, I mean, that's a pretty, that in itself has been controversial. And they admitted to me when I interviewed them at that time that they courted that to some extent. And I think that's what is often an issue for bands that play with controversy. And that they want to be provocative, they want to cause a fuss. It's sort of good for them if a politician is angry with them. It's good publicity, it gets the message out, it gives them an enemy. Sydney Pead: Let's talk about this kind of act, really, because they are protests really through music, and that is nothing new. We've always seen this throughout history. And you've written a whole book on the history of protest song. So what are some similar examples where we've seen this before? Dorian Lynskey: I mean, there are examples of artists who were trying to be provocative. They were trying to make an impact. You know, the Sex Pistols, particularly around the time of God Save the Queen, you know, obviously that was meant to wind people up. If you look at political artists that have had some longevity, you could say The Clash, say Rage Against the Machine, Billy Bragg. These are people that kind of, they never really quite find themselves in the firestorm. And what normally causes trouble is it's not normally songs. It's things people say. It's things people say in interviews. It's things people blurt out on stage. So it's not as if either kneecap or Bob Villain have written and recorded songs with the messages that have got them into trouble. Sydney Pead: Do you think the fact that these comments are filmed and shared and streamed to millions of people, does that make a difference to what can and can't be said? Dorian Lynskey: I think it changes it so much. I mean, there were, of course, controversies before. There were things that I came across that people used to say, people said in the music press when I was researching my book, that were so controversial and I'd never heard of them. And they caused them no trouble at all because they were just in the music press and nobody really noticed. And that circulation of the stories around the world and of the clips, and if you see that Bob Vylan clip, even just the way he's saying it, it makes it worse. Did it just come out? Was it an idea that, okay, I don't care if this destroys our career? And maybe what I don't quite understand about the Bob Vylan case is what they thought would happen, like the thinking behind it. Because it's like, okay, you know that you're at Glastonbury. You know that you're on the BBC. You're going a lot further than just Free Palestine. Like, what are you trying to achieve? What do you think is going to happen here? Sydney Pead: Just like Bob Vylan have had their US visas revoked, we've seen similar things happen here in Australia. We just had the rapper Kanye West refused a visa to enter because of anti-Semitic song lyrics. That song is titled Heil Hitler, to be fair. Our Immigration Minister, Tony Burke, he said Australia wouldn't support Nazism. Tony Burke, Minister for Home Affairs: My officials looked at it again once he released the Heil Hitler song and he no longer has a valid visa in Australia. Patricia Karvelas, Host of ABC's Afternoon Briefing: So that's it, Kanye West not allowed to come to Australia? Tony Burke, Minister for Home Affairs: Well, he had a valid visa. He no longer has a valid visa. Sydney Pead: So is it the same thing? Dorian Lynskey: Well it gets so complicated because I think it's always on a case by case basis. I mean, you know, and you can call that inconsistency or hypocrisy. But I mean, there has to be room for artists and indeed, you know, people in general to be able to say a range of things that may be offensive. And yet, you know, the case that you mentioned there, if you've been anti-Semitic and you've sold T-shirts with swastikas on them, and then you release a song called Heil Hitler, you know, there is provocation and then there is just simply almost rude not to revoke the visa. Sydney Pead: Mm. Well, both Bob Vylan and Kneecap, they stand by their actions. Bob Vylan says they've been targeted for speaking up. They and their fans say the criticism and the police action is purely a distraction from the issue which they were trying to protest, which is, of course, in this case, the war in Gaza. We've touched on it, but what do you think? Where is the line here? Dorian Lynskey: Yeah, I mean, I find it very difficult because I am, you know, I'm very torn. I have, you know, enormous sympathy with Gaza, enormous rage at the Israeli government and the fact that the literal killings by the IDF are less newsworthy than someone saying death to the IDF, right? So that annoys me and it seems completely disproportionate. On the other hand, you know, you do have to be honest about, OK, well, what is acceptable? What do you think is an acceptable sort of form of protest, a language of protest? So, of course, there is no free speech absolutism where your political biases don't come into play. Nobody is going, oh, you should just be able to say anything you like. It's always like you'll defend one person but not another person. Sydney Pead: And finally, Dorian, so much has been achieved through protest song. A great gig brings people together and can be a powerful force for change. So when bands are accused of crossing the line into hate speech, is it counterproductive? Dorian Lynskey: I mean, I think it probably is. If you're trying to make your point, and this is true across not just protest music but political activism, the words you choose matter. So the anti-Vietnam protests, for example, you know, end the war and then chanting in favour of, like, the Viet Cong. I mean, that looked terrible on TV. That seems, that really hurt the cause. So I think that it's a mistake, I think, for defenders of sort of knee-capable villains to think that, you know, they have to defend them 100% because that means that they are defending Palestine or free speech or so forth. Because there is a difference in politics between wise strategy and self-defeating strategy. And so the words that you choose, whether or not you have the right to say them, they really matter. And I think if he just said, you know, F the IDF, I think that would have been fine. I think it's as soon as you introduce death too, which, you know, it does sound very, very sensitive, very aggressive, particularly if people are kind of chanting it back. And bear in mind that festival crowds, a lot of time, they would just sort of chant anything. It's not as if they were all fully signed up, necessarily. There is an instinct to sort of go along with whatever the person on stage is saying. But that sounded sort of really menacing. And so then you have to think, okay, well, can you agree with even, like, 90% of what someone says about Palestine, about Israel, and yet still recognise that the things that have got them into trouble, the things that police investigation and causing these massive headlines, are something else and they're beyond the pale and they're not just a more exaggerated version of that sentiment. And can you then also say, okay, well, this can be bad, even if it's obviously not as bad as what is actually happening in Gaza. Sydney Pead: Dorian Lynskey is a British music journalist who attended Glastonbury. This episode was produced by Kara Jensen-Mckinnon and Adair Sheppard. Audio production by Sam Dunn. Our supervising producer is David Coady. I'm Sydney Pead. ABC News Daily will be back again tomorrow. Thanks for listening.
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