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Indian Express
02-07-2025
- Entertainment
- Indian Express
Epistolary novels: 8 books told through letters
'Letters are among the most significant memorial a person can leave behind them,' wrote Johann Wolfgang von Goethe, and this also applies exactly to the world of literature. Epistolary novels, either written in the form of personal letters or diary entries, or telegrams or even modern-day emails, offer a very rare kind of intimacy to a story. Mainly because these are not stories narrated about people; instead, these are stories that people narrate not to others but themselves. There's some kind of voyeuristic appeal in reading letters never meant for us, in listening to raw fears, unthrottled joy, or at times-conflicting opinions. This form of narrative, unlike a traditional plot, does away with all barriers between a reader and a character. We cease to be a bystander and become the silent addressee or alternately the co-witness to suppressed confession. In a world drowned in voices, the epistolary form is a silent whisper; and yet, somehow, it is heard very loud and clear. Let's take a look at a few books that explore this very genre perfectly. Austen's early novella Lady Susan, written circa 1794, is a razor-sharp social satire delivered entirely through letters. The titular character, a charming, manipulative widow, uses her wit and beauty to meddle in romantic affairs, particularly her own daughter and her own. Through a chorus of correspondents, we see Lady Susan's duplicity unravel, though never entirely defeated. The format allows readers to contrast differing perspectives and engage in a layered reading of truth versus manipulation. Lady Susan herself writes, 'There is exquisite pleasure in subduing an insolent spirit,' and this clever, self-aware commentary is as biting today as in the 18th century. Lady Susan's character construction thus serves as a reminder that letters can both conceal and reveal with alarming elegance. Set on the fictional island of Nollop, Ella Minnow Pea is a playful yet profound novel wherein language itself is victimized by tyranny. The islanders worship Nevin Nollop, creator of the pangram 'The quick brown fox jumps over the lazy dog.' When letters drop from a statue erected in his honor, each letter is banned and to use it means being exiled from the island. Written entirely through correspondence, the novel humorously mirrors the dwindling alphabet in an ever-constrained vocabulary. Dunn's linguistic gymnastics are, in equal parts, hilarious and frightening, capturing that insidious manifestation of an authoritarian tradition. 'We must be ever vigilant,' one letter warns, 'for the preservation of words is the preservation of thought.' It was made both for love of language and a warning against censorship and worshipping blindly. Witty, creative, and timely, the novel will enlighten and disturb its readers simultaneously. Dracula is much more than a typical vampire tale; it is a chilling symphony of fear, obsession, and the tenuous margin between reason and superstition. Through letters, diary entries, and telegrams, the epistolary method would assure a very close perusal of each character and each fear. It starts with Jonathan's eerily solitary trip to Count Dracula's castellated abode in Transylvania, only to plunge into a transcontinental chase as the Count threatens to cast a gloom over London. The others are just as much a part of that fragmented horror as Harker, Mina, Lucy, and Van Helsing attempt to piece dread together. Stoker does not merely give us a monster; but rather paints a mirror reflecting the Victorian anxieties of their time: Modernity, sexuality, and the unknown. This is not an easy read. It must be experienced like a whisper in the dark that one never quite forgets. Being one of those rare books that cling to a reader's soul long after the last page has been turned, Alice Walker's The Color Purple makes this unique distinction. Throughout, the narrative is performed through the format of letters, initially addressed to God, then to women, so much so that it almost feels that one is being entrusted with someone's darkest thoughts. We are introduced to Celie, a Black girl from the segregated South, who remains silenced from years of abuse. Through years of quiet resistance and the unconditional strength of women like Shug Avery and Sofia, we watch Celie grow, not just in voice but also in spirit. The beauty of the book is that it holds to its truth. It doesn't shy away from pain, nor does it let pain win. The epistolary style that Walker chose lends gravity to every word, and every letter seems like a rescued step toward healing. The book is not just about survival; it is also about becoming. It is unforgettable. The innovative novel by Anne Brontë begins with numerous letters written by Gilbert Markham to a friend, in which Markham relates his growing fascination with the strange new occupant at Wildfell Hall, Helen Graham. Then the story moves back again in time to Helen's diary, which chronicles her flight from an abusive, drunken husband. This layered epistolary structure offers two opposing angles and creates substantial moral intricacy. At its core, it is one very powerful argument for a woman's right to autonomy and integrity. Helen writes: 'I am not his property to dispose of at his pleasure.' The revolutionary nature of the book brought it celebration and condemnation for its unvarnished portrayal of domestic strife. Brontë does not employ the form in aid of a romantic mystery but to expose Victorian hypocrisy and to shine a light toward female endurance. This personal touch intensifies the urgency of its emotional weight, making it a proto-feminist text with relevance today. Featuring genuine correspondence between Helene Hanff, a New York writer, and Frank Doel, a British bookseller at Marks & Co., spanning a period of 20 years, 84, Charing Cross Road is a very moving homage to literary friendship. What begins as correspondence strictly for acquiring hard-to-find books gradually evolves into a transatlantic friendship filled with wit, affection, and shared appreciation for literature. Hanff's lively wit, 'I require a book of love poems with spring blossoms on the cover. Nothing under $5', is met with Frank's polite British reserve. Through their letters, a sense of shared humanity emerges despite oceans and rationing. A gift book for any book lover, it is an ode to the simple magic of written communication: pen and paper can forge bridges over time and distance. There are sequences that will have you cracking up, while others hit you with a warm wave of emotion; altogether, it is so very delightful. In this modern homage to Austen's Emma and Daddy-Long-Legs, Dear Mr. Knightley tells the story of Samantha Moore, a literature-obsessed orphan who gains a scholarship to journalism school, on the condition that she writes letters to her anonymous benefactor, 'Mr. Knightley.' As she pens her thoughts, often filtered through Austen quotes, Samantha's defenses slowly fall away. Here is a first-person memoir with a self-consciously literary, somewhat interiorized voice, that charts awakening into authenticity. 'Sometimes I think I feel like the Velveteen Rabbit,' she writes. The novel is an intense going-out-of-boy-and-into-the-world romance, coming of age, and trauma healing, in an epistolary framework of inner transformation. She has caught how people use fiction, especially those beloved by them, to hide. But just as in Austen's world, the truth triumphs. The format allows for such heartfelt sincerity in Samantha's voice that the reader feels like a trusted confidante. Warm, bookish, and hopeful-this is a contemporary epistolary novel with an old soul. From the author of World War Z, Devolution is a horror thriller told through the found journals of Kate Holland, a Seattle tech resident whose eco-conscious community becomes isolated after a volcanic eruption. Sasquatch-like creatures descend the mountains, turning utopia into a primal nightmare. Supported with interviews and reports, the style makes the novel read like a dossier of a post-disaster. Epistolary style enhances the realism, placing the fantastical in documentary-style suspense. Kate writes: 'We were civilized until we weren't.' Brooks cleverly critiques over-reliance on technology, privilege, and the illusion of safety. By allowing readers to 'find' the evidence themselves, the book builds dread incrementally. It's not just a monster story, it's a meditation on survival, fear, and the thin veneer of civilization. Devolution stretches the epistolary form into speculative fiction with terrifying plausibility.


Daily Record
10-06-2025
- Entertainment
- Daily Record
'Saucy' period drama with 'luminous' A-lister now streaming on Amazon Prime
Kate Beckinsale-led romantic comedy period piece Love and Friendship is currently streaming on Amazon Prime and was a huge hit with critics, although audiences were more divided Whit Stillman's Love and Friendship is a true hidden treasure. Boasting a 96 per cent approval rating on Rotten Tomatoes, this 2016 period drama is a highlight of the romantic comedy genre. The screenplay, also crafted by Stillman, is an adaptation of Jane Austen's epistolary novel Lady Susan, written around 1794 but not published until 1871. Despite being based on the Lady Susan novella, the film borrows its title from Austen's earlier work, Love and Freindship (sic). Set against the backdrop of 18th-century England, Love and Friendship revolves around the recently widowed and financially strapped Lady Susan Vernon as she manoeuvres her way up the social ladder by securing affluent husbands for both herself and her daughter, Fredrica. Kate Beckinsale delivers a daring performance as Austen's unconventional heroine, with Morfydd Clark providing solid support in the role of Fredrica. The impressive supporting cast includes Chloë Sevigny, Xavier Samuel, Stephen Fry, Emma Greenwell, James Fleet, and Jemma Redgrave. Currently available on Amazon Prime Video, Love and Friendship made its debut at the Sundance Film Festival in 2016 before hitting cinemas a few months later in May. The film was financed by Arte, the Netherlands Film Fund, and the Irish Film Board, raking in more than $19 million at the global box-office against a production budget of roughly $3 million, reports the Mirror US. Love and Friendship was met with unanimous acclaim from critics, with comments such as: "This is the zingiest Austen adaptation you'll ever see, with the usual pastel palette and slow decorum abandoned in favour of acid colours and acid remarks, which keep the audience in stitches." Another reviewer said: "Love and Friendship is an unexpected delight, a very dry and tremendously witty adaptation of a little known Jane Austen novella." A third said: "Love and Friendship is quick, clever and delightful, very funny and hugely entertaining," and another wrote: "This smart and saucy film is based on one of Austen's early stories, which wasn't actually published until after her death." Another reviewer said: "Austen did like to have fun with her characters to show the stranger sides we all have. Watching this classy adaptation of one of her lesser-known works will remind you of that, and make you laugh." Kate Beckinsale's acting was applauded as well, with a viewer saying: "That the luminous Beckinsale is our corseted anti-heroine helps immensely." In a 2016 interview with The Stanford Daily, Kate discussed her character, stating: "I'm very drawn to characters like Lady Susan. On paper, they're written as difficult, diabolical, or tricky. "Then, as an actor, you must make them very charming. And you have to find the balance between the two. I really liked that in this, in Last Days of Disco, in Cold Comfort Farm, and Emma. It's a really fine tightrope to walk. Whit seems to be the king of these types." However, contrary to the critics' reviews, the film received a modest 59 per cent audience approval rating. One viewer said: "Disappointing as it was a dull and dreary old English story-line that didn't amount to much plus it wasn't the least bit funny for a comedy. Kate Beckinsdale is the only character that made it somewhat bearable." Another audience member found the movie underwhelming, commenting: "Boring. Nothing really happens". However, some viewers thoroughly enjoyed the film. One enthusiastic fan wrote: "This movie was utterly delightful. I laughed the whole way through at the dry wit which permeated the movie, and I loved the ending. 10/10 for me, I have my new favourite movie." A fellow admirer of the film wrote: "Witty, fun and delightful. Spot on performances by accomplished actors, beautiful settings, gorgeous period dress. If you want a fun escape from the current dreary state of world affairs, you'll enjoy this one. Improves after each viewing." One fan succinctly described it as: "Fun, engaging, beautifully acted - and very Austenesque."


India Today
15-05-2025
- Entertainment
- India Today
7 must-watch films adapted from Jane Austen novels
7 must-watch films adapted from Jane Austen novels 13 May, 2025 Jane Austen, the beloved English novelist known for her wit and timeless tales of love, was born today. To celebrate her legacy, here are some movies inspired by her novels. Based on Jane Austen's classic novel exploring love, class, and misunderstandings in 19th-century England, it follows the spirited Elizabeth Bennet and the proud Mr Darcy as they overcome their prejudices to find true love. Pride and Prejudice Tells the story of Fanny Price, a poor girl raised by wealthy relatives in a grand estate. As she grows up, she quietly challenges the values and morals of the world around her. Available to watch on Amazon Prime Video. Mansfield Park Clueless is a modern take on Jane Austen's Emma, set in a Beverly Hills high school. It follows Cher, a fashionable teen who loves matchmaking—with mixed results. Available to watch on Amazon Prime Video. Clueless A comedy based on Jane Austen's early novella Lady Susan. It follows the clever and manipulative Lady Susan as she schemes to secure wealthy matches for herself and her daughter. Love and Friendship It is a satirical novel by Jane Austen that playfully critiques gothic fiction. It follows the naïve Catherine Morland as she navigates romance, imagination, and reality during her stay at a mysterious estate. Northanger Abbey It is a modern romantic comedy inspired by Pride and Prejudice, following the chaotic life of a single woman in London. With humor and heart, it traces Bridget's journey through love, career struggles, and self-discovery. Available to watch on Amazon Prime Video. Bridget Jones Diary It is a charming adaptation of Jane Austen's novel about a clever, wealthy young woman who loves matchmaking. Her meddling in others' love lives leads to both comedy and self-discovery. Available to watch on Jio Hotstar. Emma


The Guardian
20-02-2025
- Entertainment
- The Guardian
Where to start with: Jane Austen
This year marks what would have been Jane Austen's 250th birthday, and getting stuck into the great Regency writer's brilliant work is the best way to celebrate. Perhaps you've seen the film adaptations, or dipped into Pride and Prejudice, but what about the more obscure Lady Susan? Writer and professor John Mullan has come up with a handy guide to Austen's writing. Pride and Prejudice. What else could it be? It bursts on the first-time reader now, as it must have burst on the first readers in the winter of 1813. It's the best attraction-disguised-as-antagonism love story ever, with the most irreverent of heroines, the 'arch' Elizabeth Bennett, and an hilarious supporting cast (Mr Collins! Lady Catherine de Bourgh!). We love the fencing between Elizabeth and Mr Darcy, but all the dialogue is scintillating. Just read that first chapter: a couple of pages of conversation between Mr and Mrs Bennet (we never find out their first names) give you the very anatomy of a marriage. Persuasion is the one for romantics, and for readers who have lived long enough to know their own mistaken choices. Anne Elliot is subtle and perceptive, soulful and affectionate. Aged 19, she was in love with a dashing but impecunious naval officer, Frederick Wentworth, but she was persuaded to turn down his offer of marriage. Now she is 27 and she is melancholy and regretful. Then Wentworth comes back into her life, offering a second chance of happiness. When she died, aged only 41, Jane Austen was working on a new book. She left us with eleven-and-a-bit chapters of a novel to be called Sanditon (not to be confused in any way with the three-series ITV drama of the same name). The title is taken from the new-build seaside resort where the typically astute and humorous heroine, Charlotte Heywood, goes to stay. It is peopled by property speculators, hypochondriacs, and an aristocratic would-be seducer. You can patiently explain to your friends that it would have been a cracker, if only its author had lived. This is a novel about two teenage sisters, sensible Elinor (19) and impulsive Marianne (17). Austen recruits your sympathy with Marianne – she scorns pretension and falsehood, she plays moody piano, she dances into the small hours – only to let you see where you erred. On reflection, Marianne says and does many foolish things. She talks to trees; she thinks that a woman in her late 20s 'can never hope to feel or inspire affection again'; she throws herself at a mercenary rake; she never understands irony. Elinor, on the other hand, seems in control, but actually seethes with passion and sadness, and has a sense of humour. It is really her story. When Austen's letters began to be published in the late 19th century, many readers were disappointed. Mostly written to her sister Cassandra (who burned what we imagine were the novelist's more interesting missives), they report the weather, the latest family illnesses, and gossip about Hampshire neighbours. However, once you really know your Austen, aided by Deirdre Le Faye's brilliant biographical index to the best edition of these letters, you can find all sorts of amusement and slyness. And the odd killer aphorism: 'Pictures of perfection make me sick & wicked.' Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion If you think that Fanny Price, the heroine of this one, is a prim goody-two-shoes, and the book a big letdown after sparkling Pride and Prejudice – think again! In some ways Austen's deepest novel, Mansfield Park is an exploration of a put-upon, neglected, highly intelligent young woman with a Brontë-level secret passion (for her unperceptive cousin, Edmund). Fanny must stay true to herself, while observing the idiocies of the entitled Bertrams, who have adopted her, and circumventing the schemes of the charming but diabolical Mary Crawford. A true heroine. When Austen was 19 or 20, she wrote this novella in letters, whose main correspondent is the beautiful, amoral Lady Susan Vernon, a knowingly sexy widow in her mid-30s, she likes to conquer men, though she is too clever actually to sleep with them. When she is not casting her spell on one beau or another, she is scheming to marry off her irritatingly virtuous daughter. Lady Susan's wittily cynical letters to her confidante Mrs Johnson (Alicia) are a devilish hoot. You don't really need to have read any foolish gothic fiction to get Northanger Abbey, though Austen's satire of absurd novels and their readers is delicious. You just need to have been young, which is the main point of this story of a naive yet perceptive 17-year-old country vicar's daughter, Catherine Morland. Invited to Bath by a family friend, she loves society's whirl – and discovers love. The sheer delicious giddiness of young life (including falling for the falsest of false friends, Isabella Thorpe) has never been better done. Emma, Austen's longest and most elaborately plotted novel is as revolutionary as Madame Bovary or Ulysses. It is narrated almost entirely from the point of view of its heroine, Emma Woodhouse, who is wrong about almost everything. The reader has to share her mistakes and delusions, with no direction from the author to put them right. 'Handsome, clever and rich,' Emma, a self-appointed match-maker, meddles disastrously in others' lives, convinced that she knows what they are thinking. This is high-wire comedy, on the brink of disaster, with Mrs Elton (O, gloriously vulgar, utterly self-admiring Mrs Elton!) as Emma's distorted semblable, and only Mr Knightley to bring out her true qualities. It is that cleverest of love stories, where the heroine does not recognise that she is in love until it is (almost) too late. 'I am going to take a heroine whom no one but myself will much like,' declared the novelist, in mischief. She knew this was not true.