The Delights of Good Bad Writing

 

Picture_of_Jeffery_FarnolI am run off my feet at the moment in real life with family responsibilities – as always happens during July and August – so I haven’t been able to keep up with writing at all these past few weeks.

That’s a good thing in a way; real life events should always take precedence over our imaginary worlds, as long as one has writing time over the year. Anyway,the last editing of my latest novel, that sequel to ‘That Scoundrel Émile Dubois’’, must wait until the autumn. Still,  I do feel that I have been neglecting my blog for too long.

Apropos my last post, which commented on the similarities between the the poet and spokesman for the days of the British Empire, Rudyard Kipling, and the writer of historical romances and detective novels Georgette Heyer, I was reflecting that I must explore the writings of Jeffrey Farnol, who has something in common with either:

Here he is summed up by Wickpedia:

‘Jeffery Farnol (10 February 1878 – 9 August 1952) was a British writer from 1907 until his death, known for writing more than 40 romance novels, some formulaic and set in the Georgian Era or English Regency period, and swashbucklers. He, with Georgette Heyer, founded the Regency romantic genre.’

The synopsis of the plot for ‘ Martin Coninsby’s Vengeance’ made me laugh out loud. Here it is, in all its glory:

‘Jeffery Farnol brings back the pirate days of the Spanish Main in this stirring book with a company of picturesque characters. It is a full-blooded, wholesome novel that captivates the reader.
Martin Conisby, sour from his five years of slavery on the Spanish galleon Esmeralda, escapes during a sea fight on to an English ship and makes his way back to England. Seeking revenge on Richard Brandon, who was the cause of his father’s death and his own imprisonment. Broken both in body and spirit, he arrives home disguised as a tramp, just in time to save a beautiful girl from the hands of robber, Lady Jane Brandon, the daughter of the man whom he has sworn to punish.
In the tavern he meets an old friend, Adam Penfeather, who tells him the tale of Black Bartlemy, the infamous pirate, with his treasure buried on a desert island–treasure of magnificent value.’…

I see. I simply have to read that one. It sounds as if it must be a classic following the ‘Rinaldo Rinaldini’ blood and thunder So Bad Its Good type of reading.

The titles alone are a delight. Here are a few:

The Amateur Gentleman (1913)

The Jade of Destiny (1931)

John o’the Green (1935)

Adam Penfeather, Buccaneer (1940)

The Fool Beloved (1949)

Sorry about the uneven print size.

I have not yet explored the contents of any of Jefferey Farnol’s novels, but from those titles and that synopsis alone, I am willing to take a bet that regarding purple prose and stereotypical characters, they have something in common with the novels of Charles Garvice, writer of  best selling Victorian and Edwardian romantic melodramas.

I may be proved entirely wrong, of course, and they may contain brilliant writing along with the bad – many novels do.

Charles Garvice, to my mind, wrote the worst prose, and created the most cardboard characters, of any writer I have ever encountered. I must admit that Barbara Cartland may be a strong runner up. However, I could only endure reading two of hers. Both were terrible and full of unintentional comedy.

One was about a disguised courtier turned highwayman in the court of Charles II. The other was about an obese, drab haired girl who went into a coma for a year and emerged as a slender ash blonde creature who came over to the UK to work for her own estranged husband, with whom she had been forced into a marriage of convenience, and who didn’t recognise her.

These gave me a pretty good  idea about the value of her literary output. However, as I read these many years ago, and have been unable to track them down,  I don’t feel that I have recently read a fair enough sample of hers to claim to be properly informed.

Regulars of this blog will know of my fascination with Garvice’s works, and how Laura Sewell Mater’s article more or less summed up my own reaction, that she had only to read the few paragraphs on the pages of that Charles Garvice novel she found washed up on a beach on Iceland, to know that the writing was ‘incredibly, almost uniquely, bad’.

Many writers combine both good and bad writing – that is certainly true of Elizabeth Gaskell and the Bronte sisters –  but they include too much excellent writing ever to come close to vying for the title of a Good Bad Writer, unlike Vulpius with his ‘Rinaldo Rinaldini’, Kipling in much of his poetry, Georgette Heyer, and Charles Garvice.

 

 

 

The Difficulty in Portraying the Truly Good Hero and Heroine – Examples from Classic Novels

The literary critic Graham Handley writes of the difficulty of creating a character who is very good: ‘It is a strange but true fact that the truly good person is difficult to portray convincingly in fiction, and Hester Rose (a sort of secondary heroine in Elizabeth Gaskell’s ‘Sylvia’s Lovers’) may be compared with Diana Morris in ‘Adam Bede’ where there is a similar partial failure of imagination.’

Why this should be so is possibly a question of fashion. These days, we don’t want our protagonists to be too admirable, and the dread spectres of Mary Sue and Gary Stu hover near, whereas in the mid-eighteenth century, Samuel Richardson rose to fame (or infamy) through writing about two Mary Sues and one Gary Stu, namely, Pamela Andrews, Clarissa Harlow and Sir Charles Grandison.

These endless novels were best sellers in that era; people just couldn’t get enough of them. Of course, with ‘Pamela’ there is the issue of whether he drew in the reader with the lure of,  ‘Attempted Rape as Titillation Whilst Expressing Every Sort of Moral Abhorrence’ . I tend to agree with Coleridge that he did, possibly unconsciously.

The rape in Clarissa takes place offstage, and not until Volume Six, so a reader would have had to be as patient as s/he was purile to keep on reading that long just for that, even if people did have longer attention spans in previous centuries. Probably the fascination  of that saga was the villain Lovelace as much as the heroine, and the depiction of his evil if far fetched machinations.

Clarissa is of course, a far more sophisticated creation than Pamela, who to most modern readers comes across as a prize opportunist hypocrite. I can’t answer for Sir Charles Grandison. I have heard that the character is unbearable, and it is worth reading just for that. I have also heard that in it, a woman actually apologises for preferring God to Sir Charles.

Still, having in recent years ploughed my way through ‘Pamela’, ‘Clarissa’ and ‘Pamela in Her Exulted Condition’ (it seriously is called that!) I don’t think I can stand reading any more of Richardson’s self-serving Puritan morality for a long while.

Both the eponymous heroine of ‘Evelina’ and the hero Lord Orville are extremely virtuous and outstandingly dull. I felt like going to sleep whenever Lord Orville spoke.  Fortunately, he does that only occasionally, usually to show a high minded understanding of whatever situation it is in which he is involved.

By contrast, the villain Sir Clement Willoughby (did Jane Austen borrow his name?) provides a great deal of amusement. He spends much of his time, when not involved in rascally plots, in insisting on his deep love for the heroine. Still, never – the cad -does he  so much as hint at marriage. At the end he informs Lord Orville that she is not well born enough for him to consider for anything but as a mistress.  Lord Orville proposes believing her to be ‘low born’ – but then, he is a hero.

It was left to the genius of Jane Austen to create a hero who insults both the heroine’s face and her family origins.

Charles Darnay and Lucie Manette in Dickens’ ‘A Tale of Two Cities’ are another virtuous and dull hero and heroine in a classic novel. Someone has commented somewhere (I have managed to lose the link) that Darnay is just like an android programmed to do good things – he seems to possess no mental life at all, and whenever he opens his mouth, virtuous platitudes come forth. Lucie Manette is an embodiment of a Domestic Angel.

I have to admit that I dislike that novel, because of the influence it has had in portraying the French Revolution in an entirely negative light, in particular shaping the popular misconception about the number of victims of the Terror.

As George Orwell says: ‘ Though he (Dickens) quotes no figures, he gives the impression of a frenzied massacre lasting for years, whereas in reality the whole of the Terror, so far as the number of deaths goes, was a joke compared with one of Napoleon’s battles. But the bloody knives and the tumbrils rolling to and fro create in (the reader’s) mind a special sinister vision which he has succeeded in passing on to generations of readers. To this day, to the average Englishman, the French Revolution means no more than a pyramid of severed heads. ’

That however, is off topic…

Intriguingly, Charles Darnay does come to life – twice – when he is in danger of death. Both when he is being tried for treason in the UK, and later when he is tried for it in France, he is suddenly there, real and believable.

In fact, I found the scene where Lucie Manette (who doesn’t yet know him) sheds tears because she is forced to give evidence against him, and they gaze at each other through the courtroom and obviously start to fall in love, both evocative and gripping.

Generally, then, I find it hard to think of a truly noble hero or heroine in a classic novel who is both interesting and believable.  Readers may have been more fortunate; if so, I’d love to hear of it.

‘Fame is the Spur’ by Howard Spring: A Fascinating Depiction of an Opportunist Protagonist

I’m reading ‘Fame is the Spur’ by Howard Spring, published in 1940.

This is, of course, an epic story recounting the rise of the labour movement in the UK in the late nineteenth century until the 1930.s, and of the fate of one labour politician in particular; this is in some ways a dismally familiar story – an account of how a  firebrand socialist politician is incorporated  into the capitalist status quo he once opposed .

This depiction makes absorbing reading.  It’s an epic novel with ambitious scope, written with flashes forward and backwards –  grinding poverty, ambition, love and class conflict are vividly portrayed.

I started reading it as background reading for my planned novella on the Peterloo Massacre of 1819.  I have been really drawn in. The writing style is uneven – some of it brilliant, other parts border on the sentimental, and some of the description is clumsily put – but overall, it is an impressive book and I shall certainly be reading more from this author.

I came across it when working in the libraries many years ago. Doing research for my own planned novella on the Peterloo Massacre, I remembered recently that the nickname, ‘Shawcross of Peterloo’ is given to the main character in the novel .

As a boy, he is literally handed a sword used on the crowd in that slaughter by ‘The Old Warrior’, his parents’  elderly lodger – his sweetheart was murdered that day.

That sword, standing as a symbol of support for the downtrodden, is a sort of leitmotif running through the story.

I gather the film – which I think I saw on television as a kid, but failed to understand– depicts Hamer Shawcross as a man who, coming from the dispossessed himself,  is a genuine firebrand who sells out.

The book is more complex. In it Hamer Shawcross is depicted as being disturbingly opportunist from the beginning; from childhood, using people comes easily to him. He is lucky, as his stepfather and his friend help build him a study bedroom – a thing unknown for a boy from his  background in the industrial Manchster at that time. He is always encouraged to study and broaden his mind.

His family cannot afford university for him, so he leaves school at fourteen to work for an older friend who runs a bookshop. With a single mindedness one can only admire he continues to study, including languages, and at the same time he works hard to develop an excellent physique.

He shows a less commendable singleness of purpose, when he leaves his widowed mother (who can’t afford to pay the rent to keep her home without him) to go travelling about the world for four years.

He returns, a charismatic man with an astounding capacity for making stirring speeches and sweeping people up in his enthusiasm.

While the reader cannot find this protagonist wholly sympathetic, what is interesting is that it is unclear whether or not he is fully unaware of his own lack of sincerity.

However, it is hard to say, for much of the time, we do not have access to Shawcrosses’ thoughts. We see only his acts, and we usually see him through the eyes of other people, ie, his humble widowed mother, then Ann, his besotted wife from a privileged background, and his Dull But Worthy friend Arnold Ryerson.

I have quoted before the late Elizabeth Gaskell critic, Graham Handley, on the issue of how intriguing it makes a character for the author to reveal only so much of the workings of his or her mind.  This is particularly the case where sh/e is in fact, shallow.

Graham Handley wrote this of Gaskell’s portrayal of the ‘romantic interest’ in ‘Sylvia’s Lovers’ the Specksioneer turned navy captain Charley Kinraid.

I have written before of that character’s shameless opportunism, and the clever way in which the author makes an essentially stereotypical character mysterious, by revealing so little of his point of view. The rumours about his fickleness are never entirely confirmed or denied, but left as background hints that he is charming but unreliable, above all, a man who always has an eye on the main chance.

The depiction of Hamer Shawcross is a little like that; though his betrayals and changes in allegiance are more solidly depicted, he is mostly ‘seen from the outside’.

Interestingly, for all the occasional lapses into sentimentality in the tone of the novel,  there is no hearts and flowers happy ever after for Shawcross and his wife. Ann retains her ideals if she does continue to love her manipulative and increasingly successful life partner. He has promised to support female suffrage as an MP, but later equivocates.

By then middle aged, she becomes a suffragette, demonstrating and regularly being hauled off to gaol. There follow bitter years of conflict between them, though the bond between them is so strong that they cannot separate.

That struck me as being a realistic love story, as distinct from a romantic portrayal, and I find this impressive.

A manipulative, opportunist protagonist is always a fascinating concept. I haven’t gone much into how many modern ones there are; I can call to mind a few from classic novels.

What will happen to Hamer Shawcross I don’t know; I suspect – as it is a realistic novel – that he will gain success, but find it essentially hollow.

With regard to Charley Kinraid in ‘Sylvia’s Lovers’, regular readers of this blog will be well aware of my dissatisfaction with the undeserved glowing fate Elizabeth Gaskell allowed him. I have remarked on Kinraid’s shameless self serving attitude before. As chief harpooner on a whaler, he opposes the press gang to the point of shooting dead two of its members. When he is later impressed into the royal navy, he accepts a promotion to Captain, where he must, to get enough crew, routinely send out press gangs himself. Returning to Sylvia to find her tricked into marriage, though he has declared that ‘I’ll marry you or no-one’  he marries a pretty and doting heiress  within six months.

That is probably realistic, too. But for his emotional betrayal in forgetting Sylvia in weeks, I thought he ought to suffer at least to experience a sense of disillusionment in his new life.  This, I predict, a sense of the hollowness of success, will be the lot of the male lead of ‘Fame is the Spur.’

Intriguingly, the writer of ‘Fame is the Spur, though writing eighty years later than Elizabeth Gaskell and decades after Freud,  lays less emphasis on the sexual side of life in Shawcrosses’ career than might be expected.

While in the Victorian ‘Sylvia’s Lovers’ Charley Kinraid’s reputation as a philanderer is discussed by some sailors in an inn in  such a way as to disgust his listening rival Hepburn, little is said about any philandering on the part of Shawcross. One might almost expect so attractive and unscrupulous a man to  have worked as an unofficial gigolo, perhaps, but if he has, the author does not say. We are merely assured that he knew how to flatter women.

This is one of many novels which  I began to read merely for background information, only to find it really intriguing. I’ve ordered the film DVD, too.  The same was true of Mrs Linneus Banks 1873 novel, ‘The Mancheser Man’ , the robber novels ‘Rinaldo Rinaldini’ by Vulpius, the novella ‘Dubrovsky’ by Pushkin, ‘Sylvia’s Lovers’ by Elizabeth Gaskell and many more.

Criticism and Romantic Novels

I am a bit perturbed (I’m good at being perturbed, aren’t I?) at a New Age view which has infiltrated popular thinking.

A recent blog post by Mari Biella on free speech

Free Speech, Fake News and the Internet

inspired me to write this one.

This ‘New Age’  view that has to some extent infiltrated popular thinking is the  ‘No Negativity’ mindset that equates ‘criticism’ with something bad and unfair – in effect, with ‘negative criticism’.

This seems to me a worrying trend.  Criticism is surely equal to having an intelligent awareness of ones surroundings – towards having an active sense of discrimination. Without that we will have, surely, no intellectual life and also, no moral awareness.

Certainly, criticism can sometimes be harsh and unfair. Nobody exactly enjoys being on the receiving end of a scathing attack, however amusing it may be for others to read.

For instance, literary critics can be savage.

Then, with the rise of the internet, anyone can set buy a book and have a review, even if it is of the ‘Boring – didn’t get past the third paragraph’ one star variety, up there on Amazon, Kobo, Barnes and Noble and so on.

For my own part, I avoid giving one star reviews unless the topic is really offensive – ie, a rapist or otherwise really abusive hero, say, and I avoid giving up on any book until I’ve read the first three chapters, while I never review a book unless I’ve read it through.

But that’s just me; a lot of readers take a different approach: that is their right .

And surely, the alternative of a non critical attitude, is far worse all round.

Unfortunately, this ‘New Age’ ‘All criticism is bad and unfair’ is an attitude prevalent amongst the ‘Romance Community’, and that does bother me.

What that amounts to, is to adopt the attitude of the cults – disseminating received information, the value and veracity of which it is an outrage to challenge – so that any critical response is attributed to supposed personal malice and psychological shortcomings, if not downright inspiration from evil spirits (glances uneasily about in search of said evil spirits).

There is a  sort of ‘keeping ranks’ attitude amongst writers and readers of romance – who often seem to know each other through blogs, etc – which adheres to unspoken rules, one of which seems to be that being under attack from outside means that they must not express any discontent between themselves. Any outspoken, hard hitting criticism is seen as being infra dig (Sarah Wendell has been to some extent an exception).  I recently came across a series of fulsome comments agreeing with a blogger who had objected to critical dismissal of an author idol’s literary ability later described by that same blogger  as ‘a stimulating discussion’.  I didn’t quite see where the ‘discussion’ part came in? What was her view of a non stimulating discussion?

Seriously, I truly did encounter this on a cosy little blog, the purpose of which seemed to be to give glowing reviews to historical romances,’intimate’ and sentimental biographies of monarchs, etc.

I can see how this approach has come about. Romantic novels have been traditionally derided as being unworthy of serious consideration as literature. While genre fiction generally is seen in this light, it is particularly true of romance, which has been especially targeted as absurd. Certainly, there is an element of sexism in this.

A lot of romance writers and readers point out, and with some justification, that male adventure stories and fantasy are just as far fetched;  it is merely that the unrealistic elements in those are different to those in romantic novels.

However, to take the attitude that it is permissible to write what is supposed to be literary criticism, in which a writer or student proffers no objective analysis of general weaknesses among examples the genre, and of particular weaknesses amongst the authors discussed, is surely not  literary criticism worthy of the name. Unfortunately, there are examples of so-called ‘literary criticism’ of romance as a genre which reflect this attitude.

I am sorry to say that this is true of a renowned book of literary criticism of the romance novel written by a Professor of English at McDaniel College in the US – often solemnly quoted as a brilliant defence of the genre in various articles about the web – ‘The Natural History of the Romance Novel’  by Pamela Regis.

This struck me as containing no criticism either of the genre, or of the authors’ work the author purports to analyse. Rather it was a glowing series of expositions of various novels.

At no point during the whole of the book does Regis admit that any of the novels she ‘discusses’ have weaknesses. It reads more like a panegyric on the various authors. She sets out a structure she has devised to which the ‘pure’ romantic novel is meant to a adhere, comprising eight points. She then goes on to define various classic novels as having these points and therefore, by definition, belonging to the category of romantic novels, ie, ‘Pride and Prejudice’ and ‘Jane Eyre’ (whether or not these last two are in fact romantic novels is, of course, highly debated; anyway, Regis is confident that according to her approach, they are).

When I came to the chapter ‘The Limits of Romance’ , I thought, ‘Ah; now we shall have some objective analyses worthy of the name’ but no such thing. The phrase merely means that certain novels which are, generally, regarded as belonging to the romance genre are excluded – ie, ‘Gone With the Wind’, which is excluded by not having the necessary HEA.

Where there is any criticism, even of highly contentious subjects – for instance, of Samuel Richardson’s making a happy ending between the heroine and the ridiculous but supposedly romantic would-be rapist hero Mr B in ‘Pamela’ – then rather than engage herself, the author quotes opinions by other critics, never stating her own opinions except in defence of the genre.

Discussion of varying points of view should indeed be used to extend the scope of an argument; but when it is used as a substitute for any real investigation of structural and stylistic weaknesses by the author herself, when she is supposedly an expert on literary criticism – that strikes me as extraordinary.

My own review of this book can be found here:

https://www.goodreads.com/book/show/182152.A_Natural_History_of_the_Romance_Novel?ac=1&from_search=true#other_reviews

I found some of the comments on the book made by a journalist called Noah Berlatsky in this blog highly apposite:

http://www.hoodedutilitarian.com/2013/12/romance-and-the-defensive-crouch

‘Regis’ difficulty is that she wants to defend all romance. She is fighting for the honor of romance as a genre, or as a whole. She never, once, in the entire book, admits that any single romance, anywhere, might be formulaic, or badly written. ‘

…An impossible position to maintain, but somehow the author does it. But then she makes a truly astounding claim about the ‘first romantic novel’  ‘Pamela’, of which, it seems, for all its glaring faults, she as a defender of romantic novels is determined to admire.  She maintains that:  ‘The story can be called oppressive, I think, only if one believes that marriage is an institution so flawed that it cannot be good for a woman.’

I wrote an answer answer to that bizarre attempt at defence of the distasteful and sentimental outcome (as critics say, the obscenity of ‘Pamela’ lies in its sentimentality)  in my Goodreads review of her book. This would take us too far off topic here for me to quote…

So, to move back to the general…

I remarked in my own review of this book:

‘The author, in fact, puts herself in an impossible position; in arguing that there have been some romances written which are great literature, pointing to the ‘canonical’ texts of Jane Austen and Charlotte Bronte, she never admits that comparison means just that. If there have been excellent romances written, then by definition there have to have been some far from excellent ones churned out. But as a defender of romance, who seems to make it a point of honour to eschew all criticism, this is an admission that she cannot make. All that she can do, is to maintain a deafening silence on the topic.

This ‘closing ranks’ out of defensiveness and equating all criticism with negative criticism is an attitude of the romance community which contradicts the desire of its members for their genre to be taken seriously. Criticism by definition cannot all be positive.’

If romance readers and writers want their favourite genre taken seriously as literature, then surely one of the first steps must be for romance writers to accept criticism without automatically maintaining the ‘defensive crouch’ that Noah Berlatsky analyses in his blog.

To move forward, surely the ‘romance community’ must also  be prepared to extend hard hitting analysis worthy of the  name about ‘classic romantic novels’ and others  – particularly in works of supposed literary criticism.  Free speech should operate here as elsewhere; for romance writers and critics to adopt the attitude that it is somehow unfair and not nice  makes them seem weak in a stereotypically ‘feminine’ way, and reinforce those sexist interpretations they so rightly resent.

The Marty Stu or Gary Stu – Neglected Compared to the Mary Sue

evelina-or-the-history-of-young-lady-entrance-into-the-world-by-fanny-burney-0486808580I’ve been looking for discussions about the male equivalent of characters defined as Mary Sue’s online, and what interests me is how few posts there are about Gary Stus and Marty Stus,and how few male characters are defined in this way.

In fact, I read a blog which, while admitting that there are few Gary Stu discussions compared to all those  Mary Sue accusations flying about, didn’t explore this, going on instead to list various heroines perceived by the author as Mary Sues. I was surprised to find Elizabeth Bennet on this blogger’s list; but more on that later.

Goodreads has a ‘Listopia’ list of Gary Stus. As I am not a great reader of current fantasy, and most of the male leads named came from this genre, I didn’t know enough about the characters to comment. Even I, however, knew the male leads from the top two. First on the list was Edward Cullen from ‘Twilight’ by Stephanie Myer, and second was Jace from ‘City of Bones’ by Cassandra Clare.

Well, I think I said in my last post that the fact that many readers define the heroes and heroines of these books as Marty Stus or Gary Stus seems to have done little to detract from their bestselling status and continuing popularity.

I did let out a hoot of laughter at seeing that the tiresome ‘Little Lord Fauntleroy’ featured on this list, that infamous young Cecil of the sailor suits and suave compliments.

lord-orvilleI added the hero of Fanny Burney’s ‘Evelina’ to this list. Lord Orville is, surely, the original Marty Stu, perfectly matched to the heroine who competes with Pamela for the title of the original Mary Sue.

Lord Orville is handsome, witty, suave, gallant, and unlike his roguish rival, Sir Clement Willoughby, tenderly respectful of the heroine’s innocence (this is off topic; but did Jane Austen borrow Clement Willoughby’s name for her own rogue in ‘Sense and Sensibility’?).

12618f13

I also added the secondary hero of Elizabeth Gaskell’s ‘Sylvia’s Lovers’ to the list. Charley Kinraid ‘the boldest Specksioneeer on the Greenland Seas’ is handsome, fearless, irresistible to women, can drink endlessly and never fall down, is a brilliant raconteur, beguiling and the life and soul of the party. Just about the only person who doesn’t admire him in the book is his jealous rival Phillip Hepburn.

Not only that, but he has so much good luck that he is virtually indestructable. He survives two serious gunshot attacks without seemingly lasting ill effects. A woman is rumoured to  have died of a broken heart after he finished with her.

The only bad luck he has is falling victim to a press gang, and the Royal Navy officers quickly take to him and realizing his exceptional abilities, promote him so that within a few years, he is able to marry an heiress. Then, further promoted to Captain, he is able to send out press gangs of his own…

As the term ‘Mary Sue’ (later mutated to ‘Marty Stu’ or ‘Gary Sue’ to accommodate male characters) originated in fantasy fan fiction, I suppose it isn’t surprising that most of these online discussions are about this genre.

I did find a very witty catalogue of types of Marty Stu on this link. Unfortunately, it’s about those on television rather than in books. It is excellent, and the types are easily recognizable in novels as well as television series and films:

http://tvtropes.org/pmwiki/pmwiki.php/Main/MartyStu

This biting paragraph is particularly apt:

‘Dark Hole Stu: His gravity is so great, he draws all the attention and causes other characters (and, often, reality itself) to bend and contort in order to accommodate him and elevate him above all other characters. Characters don’t act naturally around him – guys wish to emulate him and all the girls flock to him regardless of circumstances. They serve as plot enablers for him to display his powers or abilities, with dialogue that only acts as set-ups for his response. He dominates every scene he is in, with most scenes without him serving only to give the characters a chance to “talk freely” about him – this usually translates to unambiguous praise and exposition about how great he is. Most people don’t oppose him and anybody who does will quickly realise their fault in doing so or just prove easy to overcome. Often a combination of the above Stu archetypes…’

Nevertheless, looking about for Marty Stu or Gary Stu discussions, I am a bit perturbed. There was seemingly so much more talk of Mary Sues on the web compared to that centering on their male equivalents.

This seems accurately to reflect the different standards  and expectations applied to male and female characters. There does appear to be a good deal less resentment of male characters presented as admirable, handsome, unflappable, invincible in fights, and invariably attractive to most women.

A male character is permitted to have glaring character flaws and still be presented as generally heroic. He is also allowed to be sexually adventurous and even promiscuous; a female character so free with her favours would be defined as ‘slutty’ and lose the sympathy of many female, as well as male, readers.

In fact, being emotionally challenged is often seen as a desirable attribute in these stereoptypical male leads. It is only rarely one with female leads. This has led me to wonder how readers would react, say, to a female version of the Byronic male?

This strikes me at least as being unfair.

I also note, that  for some reviewers, the term ‘Mary Sue’ is applied rather loosely, being leveled at almost any female character whom they for whatever reason, resent.

This leads me back to the term being applied by one blogger to Elizabeth Bennett. She doesn’t seem to me at all to qualify.

jane-austen-p-and-p

Yes, she is lucky to attract the hero’s admiration, but she does that through wit rather than her looks, which as everyone knows, originally elicited that  ‘not handsome enough to tempt me’ remark from him. It is true that her mother doesn’t appreciate her, and a virtual requirement for Mary Sues is not to be appreciated by her family – but she is her father’s favourite daughter.

Apart from wit and dancing, she has no particular skills apart from perception.  In the book (as distinct from the film versions) she is depicted as a mediocre singer and pianist; her sister Mary in fact described as more skilled, but with an affected style, so that people find her performances tiresome.

I suspect that the blogger disliked the character of Elizabeth Bennett, but not because she is a Mary Sue. Possibly, the blogger disliked her because she is generally such a favourite among Jane Austen lovers that the chorus of praise from them becomes boring.

Therefore, it would be good if readers applied that suggestion I found on a fan fiction website about Mary Sue’s: ‘Would I find these characteristics so annoying if she was male?’

james-bond

Finally, a highly perceptive remark from a  male poster called Tim Kitchin on Gary Stu’s:

https://www.quora.com/Who-are-the-most-notable-Mary-Sue-characters-in-books-and-literature

‘Jason Bourne, Tintin, James Bond, Ethan Hunt would all ‘fit the description’. The absurdity of these Gary Stus doesn’t go unremarked by fans, but it doesn’t seem to evoke the same cultural baggage and resentment as many Mary Sue characters – for one thing because the intrinsic role-conflict (for which read ‘socially conditioned expectation’) inside male character leads is less complex…and for another because we are so used to them..’

Miss de Mannering of Asham by F M Mayor: A Short Story of Love, Betrayal and Haunting

virago-cover A few months ago, I wrote a post about how one of the stories in ‘The Virago Book of Ghost Stories’, namely, Margery Lawrence’s ‘The Haunted Saucepan’ veered over the thin line between the ludicrous and the ghostly, so that it made me snort with laughter.

To be fair to Margery Lawrence, I believe she wrote some stories generally considered terrifying. Also, part of the problem was the dated ambiance of the story – the plight of the hero, ‘needing’ to live in Mayfair and accordingly forced to choose between living in his club, or ‘the discomfort of hotels’ is not one to arouse much sympathy among many modern readers.

It is interesting, therefore, that a story from the same era – and written from the same perspective of dated assumptions – is to my mind wholly successful as a ghost story, and having written about how one story in this collection fails in its purpose to terrify (though it gave me a wonderful laugh), it seems only fair to write about how to my mind ‘Miss de Mannering of Asham’ (amongst others) strikingly succeeds.

This story, by F M Mayor, was presumably written at some time in the 1920’s (the author died in 1932). It seems ‘the woman alone’ was one of her favourite themes, and this is certainly that of this short story. The atmosphere summed up in her story is tragic, and strangely believable. Also, there is an underlying compassionate attitude towards suffering humanity in the story, which elevates the tale beyond the level of a typical ghost story and leaves a lasting impression on the reader (anyway, it did with me).

The story begins with a couple of school teachers going on holiday to a resort in an unspecified area on the north east coast of England. They stay in an inn, hire a donkey and trap, and set out to explore the area. Duly coming to a great house set in extensive parkland, they enter (in those days, asking to see round stately homes was commonplace).

The day is overcast (as are so many humid summer days in England. As they drive through the parkland, they find it oppressive, particularly an avenue of laurels. Many of the trees in this park have been struck by lightning, and the protagonist Margaret feels a sense of pity for them, and discovers a general claustrophobic dislike of parkland she never realised she had before.

Kate is affected too, and so is the donkey. They come to the Jacobean mansion, and a young manservant greets them, one of a number left there by its current owner, who almost never visits. He hints at a ghostly atmosphere and a shut up room. Kate goes to visit the old church, and comes back pale and uncommunicative.

That night Margaret amd Kate suffer from nervous fears and they share a bed (this was written in the days when no possible sexual connotation regarding this would be made by the readership). The next morning, at breakfast, Kate reads about Asham Hall in her guide book, and suggests they return to look at the tombs. This time they go by bicycle, but Margaret becomes too affected by the atmosphere to go into the churchyard. She stays behind, and sees a woman in the churchyard, who walks down the path, passing Kate. Kate is aware of her approach, but does not see her.

Later a great aunt of their landlady at the inn tells them how her mother worked as a young woman at Asham Hall for the then aging Miss de Mannering, who treated her kindly, particularly when she was upset at being let down by a young man. On Miss de Mannering’s death, she bought some of her personal things so that they would not go to strangers, including, ‘a lot of writing’ and a portrait of Miss de Mannering.

victorian_headstones_englandThe woman shows both to the teachers, to whom she has taken a great liking. The portrait is dated ‘Bath 1805’ and Margaret thinks, ‘I should have been afraid of Miss de Mannering from her mouth and the turn of her head, they were so proud and aristocratic, but I loved her for the sad, timid eyes, which seemed to be appealing for kindness and protection.’

The writing – a story within a story, a device I have always found fascinating – relates the story of Miss de Mannering, an isolated, plain and lonely girl living alone with an elderly, ill tempered father, obsessed by money problems. At the age of twenty-five, she is sent by him to Bath to stay with her aunt and cousin and find a husband.

Her aunt and cousin treat her kindly, but she is not a success at Bath. However, her cousin tells her that a man called Captain Phillimore admires her ‘countenance’.  ‘I congratulate you with all my heart.’

Miss de Mannering relates, ‘Captain Phillimore sought me out again and again’. Though reputedly wild and extravagant, he proposes to her, but insists that he has reasons why their coming marriage should be kept secret. Meanwhile, he asks her to consummate their coming marriage in the summerhouse, dismissing the marriage ceremony, ‘Using the ‘wicked sophistries of the infidel philosophers of France…But alas, there was no need of sophistries. I loved him as no weak mortal should be loved…’

Miss de Mannering returns to Asham, and eagerly awaits Captain Phillimore’s arrival to ask for her. But ‘Certainty was succeeded by hope, hope by doubt, doubt by dread’. She discovers that she is pregnant. She confides in her old nurse, who advises her how best to conceal her changing shape, and arranges for her to go to an associate elsewhere to give birth.

Meanwhile, lonely and forsaken, Miss de Mannering is tormented by the stormy weather, with violent thunderstorms, and the oppressive skies of August. In November, some women she met in Bath come to visit. To her horror, they talk of how Captain Phillimore betted with his friends  that he would seduce the three most innocent maids in Bath.

‘My love was dead, but I could not, could not, hate him.’ She sends for her old nurse, but snow is falling fast, and before she can arrive, Miss de Mannering goes into premature labour. The baby only lives for hours. Miss de Mannering would have buried him herself in the churchyard, but the ground is frozen. She burns the body on the fire. Subsequently, she goes into a fever lasting many weeks.

When she comes to herself, the doctor gently reveals to her that he knows her full story, but ‘A physician may sometimes give his humble aid to the soul as well as to the body. Let me recall to your suffering soul that all of us sinners are promised mercy through our Redeemer. I entreat you not to lose heart.’ The compassionate doctor arranges for her to go on holiday with his sister.

Miss de Mannering returns to Asham with her health restored. ‘I learnt to forgive him.’

Kate and Margaret also find a letter from Captain Phillimore to Miss de Mannering, dated 1810 and sent from ‘Hen and Chicken Court. Clerkenwell ‘ (then a decidedly rough area in London):

‘Standing as I do on the confines of eternity, I venture to address you. Long have I desired to implore your forgiveness, but have not presumed so far. I entreat you not to spurn my letter…my vows were false, but even at the time I faltered, as I encountered your trusting and affectionate gaze…Had I embraced the opportunity offered me by Destiny to link my happiness with one as innocent and confiding as yourself, I might have been spared the wretchedness which has been my portion…’

The letter is stained with tears, which Kate finds incomprehensible over ‘That skunk’. But Margaret guesses far better, ‘All that letter, with it’s stilted, old-fashioned style, which makes it hard for us to believe that the writer was in earnest, would have meant to Miss de Mannering.’

f-m-mayorMy short quotations can do little justice to the atmosphere of the story, and the strong, yet understated, style in which it is written. The tale of the innocent young woman wronged and seduced would have been written countless times even in the 1920’s, yet this ghost story relates it with a freshness and a verve that brings its poignancy to life all over again.

I found it very moving, particularly the ending, and Captain Phillimore’s repentance.  I was interested to read online that interest in the writing of this author, neglected for decades, has recently revived.

Samuel Richardson’s Pamela, Calico Purity and Underclothes Excitement, Purelity and Mr B’s Supposed Reform

clarissaSamuel Richardson’s reputation, for so long as bad as it could be among critics, has in recent decades had something of a revival. This is generally among literary scholars, as the length of his works is enough to put off all but the most geekish or courageous of readers (count me among the said geeks). These days, the subtlety of his characterisation, and the complex significance of his use of incident, are now discussed as avidly as once were the scorn and disgust aroused in readers by his self serving Puritanical morality.

Typically awkward, I think this is a loss, because I fully agree with Coleridge’s conclusion about Richardson’s work:

‘I confess it has cost, and still costs, my philosophy some exertion not to be vexed that I must admire, aye, greatly admire, Richardson. His mind is so very vile, a mind so oozy, so hypocritical, praise mad, canting, envious, concupiscent.’

5pamelaRichardson writing has a compulsion which one feels has got little to do with literary value, or the creation of sympathetic characters, believable situations, or strong writing.

In fact, after ploughing through ‘Pamela’ ‘Pamela in Her Exalted Condition’ ‘Clarissa’ and part of ‘The History of Sir Charles Grandison’ I can safely state that Richardson is devoted to purple prose.

Unfortunately, this may be why – with his favourite theme being that of female virtue besieged – in an age discovering ‘sensibility’, so many of his inner circle of toadying admirers and literary advisors were women. They wished to explore the ‘female sphere’ of the emotive that this male writer was prepared to take seriously in his writing, and in their enthusiasm for this they seem to have blinded themselves both to the inadequacies of his verbose, florid style and the dismal limitations of the sort of respect for women offered by his Puritanism.

thIt is intriguing that in their discussions, they often employed much the same arguments that are used today in defences on the literary value of the romance novel. In fact, current writers on the value of the romance novel take a stand against the ‘anti-Pamela-ists’ precisely because they define ‘Pamela’ as the first romantic novel.

Richardson wrote two hundred years before Freud’s discoveries of sexuality and the unconscious laid bare the source of his appeal, already hinted at in the satires of Henry Fielding and Eliza Heywood. In D H Lawrence’s words, he offered voyeuristic ‘Calico purity and underclothes excitement…Boccacio at his hottest seems to me less pornographic than ‘Pamela’ or ‘Clarissa’.

If this seems wonderfully biting, then the critic V S Pritchard in ‘The Living Novel’ goes further:

th‘Prurient, and obsessed by sex, the prim Richardson creeps on tiptoe nearer and nearer, inch by inch…he beckons us on, pausing to make every sort of pious protestation, and then nearer and nearer he creeps again…’

This is hilarious, and very apt.

Another critic, Frank Bradbrook in his essay on Richardson in  ‘The Pelican Guide to English Literature’ remarks trenchantly: ‘Pamela is sentimental and obscene; its obscenity is a direct result of its sentimentality.’

I have to agree with these criticisms, which makes me into an ‘anti Pamela-ist’. But I am even more of an ‘Anti Mr B-ist’ I don’t think Richardson’s heroine is alone in being  a hypocrite. Mr B is even more of one than Pamela herself.

Regarding Pamela’s hypocrisy, as soon as her master offers to marry her, he ceases to be a villain in her eyes, and she never asks for an explanation or apology for his abusive treatment of her until his sister insists on his making one. In elevating her to his own status, Squire B has put his late mother’s lady’s maid under such a sense of obligation that he can only be her ‘beloved Master’ even if he did attempt to rape her at least once, and sexually assaulted her on numerous occasions.

pamelaAs for M B’s hypocrisy, apart from his absurd earlier outrage that she has dared to defy him and write accounts of his attempts on her, there is his later astounding self complacency. He is supposed to have undergone a moral metamorphosis triggered by reading her journal. One might think that this would have made him a little confused and diffident about himself, and the value of his opinions. Far from it. As soon as he gives up his attempts on her and decides to marry her, he suddenly shows an incongruous tendency to express pompous views about marriage and a wife’s duty.

Here he is clearly Richardson’s mouthpiece. Still, the contrast between this new persona, and his former behaviour as a self confessed rake, are purely ludicrous.

The revival of Richardson’s reputation seems to have been partly promoted by the writings of the US academic Mark Kinkead Weekes, and in particular his 1973 book ‘Samuel Richardson: Dramatic Novelist’.

I recently read this, having ploughed through ‘Pamela’ (read and detested in 1991; re-read and detested even more recently); ‘Pamela in Her Exalted Condition’ (hooted over in 1993; skim read again recently) and ‘Clarissa’ (ploughed through, and to some extent, grudgingly admired, two years ago).

pamela-faintinI found Kinkead Weekes’ book intriguing, though I disagree with his conclusions, while I found the parts which defend both heroine and the anti hero Mr B in ‘Pamela’, not only unconvincing but downright offensive to women readers.

It has to be said in Kinkead Weekes’ defence, that this book was written in 1973, when the views about the depiction of sexual violence against women in novels was very different.

It is an intriguing thing that Kinkead Weekes considers the scheming unrepentant Lovelace – the rapist anti-hero of ‘Clarissa’ – as a very evil man. But Mr B, by dint of his facile reform is another case altogether.

200px-Pamela-1742In ‘Pamela in her Exalted Condition’ Richardson was later to have Mr B deny that his first seeming attempt on Pamela, where he leaps out of a closet, climbs into bed with her and the housekeeper and thrusts a hand down her bosom was an atempted rape, and indeed, it is hard to see how he would have contemplated carrying one out in front of Mrs Jervis. However, that piece of punishment through sexual assault is ugly enough, and later in the novel, he does carry out a genuine rape attempt.

Kinkead Weekes goes on to say of Mr B’s second attempt (also made in the presence of another woman, this time the wicked housekeeper Mrs Jewkers: she holds Pamela down, as do the prostitutes in ‘Clarissa’; Richardson did seem to have a rather odd thing about exhibitionist rapes)

‘The final attempt does begin with the intention of rape, though for revenge and subjugation, not desire- but it continues in stubborn pride, unwilling to give in to fear of wrongdoing, and trying hopelessly to salvage something. …It is the last kick of B’s pride, brought remorselessly to face its consequences in the ‘death’ (Pamela has a fit)
of the girl he loves. The result is tenderness, and there is no need for B’s subsequent change to seem surprising.’

IX: Pamela is Married 1743-4 Joseph Highmore 1692-1780 Purchased 1921 http://www.tate.org.uk/art/work/N03575
IX: Pamela is Married 1743-4 Joseph Highmore

I see; readers have been told that they are not ‘reading carefully’ if they find Mr B’s subsequent reformation abrupt and unconvincing. We are also told repeatedly that Pamela is not a hypocrite for accepting such a man when he changes to making ‘respectable’ offers of marriage.

‘It is open to the critic to say that it is immoral to love a man who has behaved like B, even if he seems to have made a break with his past, and that it is immoral to be able to blot out that past in a forgiveness excessive enough to rank repentant sinners ‘in the rank of the most virtuous’. Only, if that is what we want to say, let us say it clearly, in awareness of what saying it implies. Let us not, on the other hand, talk too much about the jewel market.’

I see. What I would say in response to that, is of course, Pamela should have forgiven such a man as Mr B. But she should not have married him.

Strangely enough, Kinkaed Weekes thoroughly endorses Clarissa’s combining forgiveness of Lovelace with an absolute refusal to marry him. While it might be argued that this is because Lovelace never really repents, he says he does. He is willing to marry Clarissa, believing that will put matters right.pamela

I see very little moral difference between the two rapist anti heroes, save that the first is less of a compulsive schemer, and more of a hypocrite, who decides he will obtain more pleasure in joining Pamela in ‘innocent pleasures’ with her as his servile worshipper, and in going about with her giving the neighbours tedious moral lectures, than in jumping out at her from closets and thrusting his hand down her bosom.

Tastes change, I suppose…