New Ways to Kill Your Mother, Page 2

  It would really make sense to kill Lady Bertram, or to have her not there, allow her to be one of those unmentioned mothers in fiction, an unpalpable absence. But in that case, there will be no real impulse for Fanny to join her household rather than that of Aunt Norris and Fanny will miss daily contact with Edmund, who notices her and then doesn’t, thus releasing important dramatic energy in the book.

  In patterning the book, in creating its dynamic and its dramatics, Austen has to have Lady Bertram there as a mother and not there all at the same time; she has to give her characteristics that are essentially neutral. She might have been easily amusing or irritating or silly like Mrs Bennet in Pride and Prejudice. Since her husband is away so much, she might have been given a more significant role. The pattern of Mansfield Park is essentially the pattern of the family. Even the outsider Henry Crawford comes armed with two sisters. When we look for the pattern of the book, we must therefore examine the dynamic of the family, the strange way power is held and withheld which allows the events of the novel to unfold and, more than anything, lets Fanny Price, so ostensibly dull and powerless and passive, emerge as deeply drawn and deeply powerful within the silence of her own consciousness. The novel gives her a sort of autonomy that she could not have were the pattern to be different; it allows her to move from being an outsider to taking over the narrative and, indeed, taking over generally.

  Thus Austen has the ingenious idea of making the sofa, rather than the household, the realm over which Lady Bertram reigns, and making sleep, or half-sleep, her dynamic. She is too sleepy to care. When her husband is leaving for the West Indies, Austen writes: ‘Lady Bertram did not like at all to have her husband leave her; but she was not disturbed by any alarm for his safety, or solicitude for his comfort, being one of those persons who think nothing can be dangerous, or difficult, or fatiguing to anyone but themselves.’ While she thinks about her own comfort, she does not dwell too much on the subject. It defines what she does not do rather than any of her actions. She hardly has any actions. Austen writes: ‘Lady Bertram did not go into public with her daughters. She was too indolent even to accept a mother’s gratification in witnessing their success and enjoyment at the expense of any personal trouble …’ What Lady Bertram does in the book most of the time is not merely ignore others, but effectively ignore herself; she lives a gloriously underexamined life, so placing her in precisely the opposite force field to Fanny, who notices herself with considerable, almost intrusive, care, as though she were a little orphan novelist. Lady Bertram is lazy, has little to say, suffers from mild ill health. Her passivity and general lassitude play comically against her sister’s energy. But more than anything, the state of non-being, her presence as outline rather than line, her sheer inertia, her belief in the power of her own placid beauty, allow other forces in the novel – the venality of some of her children, Edmund’s sincerity – to happen, or have their effect, not because of their mother or their family or even despite the mother or the family; instead, naturally, organically, each character is given their own autonomy, thus allowing Mansfield Park to unfold as complex pattern. Lady Bertram, for example, is a loved figure in the book, but also comic. She is not merely interesting for the reader, she has a surprising way of attracting the other characters. In the centre of the book like a strange and insistent mass stands the consciousness of Fanny Price. She has no vivacity, no wit; she is mainly silent. She repels as much as she attracts. Trilling, for example, dislikes her, and writes: ‘Nobody, I believe, has ever found it possible to like the heroine of Mansfield Park. Fanny Price is overtly virtuous and consciously virtuous.’ This may be so, if we insist on looking at her from outside as though she were human. What is more important is that the novel is a register of her very essence. More than irritating virtue, this essence contains reason and feeling. She has a way of noticing and registering that has nothing to do with virtue, but everything to do with narrative impetus, holding the reader. It is uncertain how she will live in the book, thus filling the book with momentum.

  For this momentum to happen, it is essential that she is taken away from her mother and put in the care of two aunts, neither of whom behaves in a way that is motherly. This gives her presence in the book a sort of density and strength. The idea of aunts in fiction in the nineteenth century is not merely to give the main character strength, however. It arises from a need that is more fundamental and displays the novel form itself as oddly hybrid and insecure and open to change and influence.

  The novel is unsure whether it is a story, told by a single teller, or a play enacted by a number of actors. It is both static and theatrical in its systems, a sphere in which a single controlling voice operates, or many competing voices. The value of aunts in the dramatic structure of a novel is that they arrive and then they depart. They break up space and they add spice to things. Thus the arrival in Pride and Prejudice of Lady Catherine de Bourgh, Mr Darcy’s aunt, comes with a considerable new energy in the rhythmic tone of the novel as though it were being played out not for a single passive reader but for a large eager audience. It reads as follows:

  One morning, about a week after Bingley’s engagement with Jane had been formed, as he and the females of the family were sitting together in the dining room, their attention was suddenly drawn to the window, by the sound of a carriage; and they perceived a chaise and four driving up the lawn. It was too early in the morning for visitors, and besides, the equipage did not answer to that of any of their neighbours. The horses were post; and neither the carriage, nor the livery of the servant who preceded it, were familiar to them. As it was certain, however, that somebody was coming, Bingley instantly prevailed on Miss Bennet to avoid the confinement of such an intrusion, and walk away with him into the shrubbery. They both set off, and the conjectures of the remaining three continued, though with little satisfaction, till the door was thrown open, and their visitor entered. It was Lady Catherine de Bourgh.

  This idea of aunts arriving and then departing and the movement within the rhythm of the prose bearing signs of all this excitement makes its way through the novels of the nineteenth century. Chapter 7 of Book 1 of George Eliot’s The Mill on the Floss, for example, is entitled ‘Enter the Aunts and Uncles’, as though the page of the novel were a stage in a theatre. And in how she paints the four sisters, Mrs Tulliver, Mrs Glegg, Mrs Deane and Mrs Pullet, she moves between the comic and the serious using both dialogue and witty authorial observation; she uses the young Tom and Maggie Tulliver as observers, almost readers, almost audience, of the scene being worked out within the older generation. At stake here in this chapter is the idea of the family as a unit, as a united way of doing things, and how things will move and develop within this sense of tradition will become an important aspect of the novel’s pattern. This will be outlined in the simplest and most domestic way as Mrs Glegg remembers that in her ‘poor father’s time’, every member of the family arrived for meals at the same time. Soon when Mrs Pullet cries about the death of a neighbour, her sister argues with her in the name of family tradition rather than good sense: ‘ “Sophy,” said Mrs Glegg, unable any longer to contain her spirit of rational remonstrance, “Sophy, I wonder at you, fretting and injuring your health about people as don’t belong to you. Your poor father never did so, nor your aunt Frances neither, nor any o’ the family as I ever heared of.” ’

  And since the novel is made up not of moving characters on the stage wearing colourful costumes and knowing how to project their voices, but of grim black marks on the page, then one of the other purposes of aunts is to allow them dramatic departures or vicious arguments for the amusement of both the younger generation and the reader. The departure of Lady Catherine de Bourgh, for example, is tremendously exciting. ‘I take no leave of you, Miss Bennet. I send no compliments to your mother. You deserve no such attention. I am most seriously displeased.’ Or the departure of Mrs Glegg in The Mill on the Floss: ‘ “Well,” said Mrs Glegg, rising from her chair, “I don’t know whether you think it’s
a fine thing to sit by and hear me swore at, Mr Glegg, but I’m not going to stay a minute longer in this house. You can stay behind, and come home with the gig, and I’ll walk home.” ’ Or the row half a century later between Stephen’s father and his Aunt Dante on Christmas Day in James Joyce’s A Portrait of the Artist as a Young Man: ‘Dante shoved her chair violently aside and left the table, upsetting her napkinring which rolled slowly along the carpet and came to rest against the foot of an easychair. Mr Dedalus rose quickly and followed her towards the door. At the door Dante turned round violently and shouted down the room, her cheeks flushed and quivering with rage …’

  Thus aunts depart in novels as aunts arrive, to break the peace and lighten the load. Of all the novelists, the one who comes most to mistrust the mother and make use of the aunt is Henry James. In his critical writings, his prefaces and his letters, James wrote very little about Jane Austen. Early on he made clear his admiration for her: ‘Miss Austen,’ he wrote, ‘in her best novels, is interesting to the last page; the tissue of her narrative is always close and firm, and though she is minute and analytical, she is never prolix or redundant.’ But he also wrote that ‘Jane Austen, with her light felicity, leaves us hardly more curious of her process, or of the experience that fed it, than the brown thrush who tells his story from the garden bough.’ He alluded sarcastically to ‘the body of publishers, editors, illustrators, producers of the present twaddle of magazines, who have found their “dear”, our dear, everyone’s dear, Jane so infinitely to their material purpose’. There are many ways of reading this, but it should be noted that James was not, in general, in the habit of praising other novelists; he saw his own work as a deeply self-conscious art, refined into a system, an exquisite tapestry. He did not notice anyone else operating at the same intensity and degree of deliberation as he did. But he took what he needed, as any novelist does, from his colleagues’ work, and unlike ‘the brown thrush who tells his story from the garden bough’, he saw no reason to let everyone know.

  In his creation of aunts, in any case, thrush or no thrush, James took his bearings from Austen not only in the outlines of what she did, but in the complexity she sought and the dense pattern she managed while breaking up a family for the purposes of her fiction. Both Austen and James made fictional space in which things moved unexpectedly or changed shape, in which there was much ambiguity and duality. If they played with pattern, it was a pattern that left space for what was shimmering and dynamic. Both Austen and James placed at the very centre of their pattern a throbbing consciousness, a striving presence who could filter experience, on whom experience could press in ways that were unpredictable, and fascinating for the reader.

  In James’s six greatest works there is an absent mother who is replaced by a real aunt or by a set of surrogate aunts. In Washington Square, for example, Dr Sloper’s wife has died, leaving Catherine, his daughter, motherless. Her helper and confidante becomes her aunt, who is conspiratorial, mischievous, oddly kind and somewhat foolish, and always on the verge of being banished by Dr Sloper. In The Portrait of a Lady Isabel Archer is also motherless, indeed her father is dead too, and she is found as an unprotected orphan in Albany by her aunt Mrs Touchett, who is eccentric, wilful, bossy, interesting, both kind and brittle. Mrs Touchett takes over Isabel’s life, takes her to England and Italy, introduces her to a new world of possibility; the aunt is effectively the agent who causes the action of the novel to take place.

  This idea of James killing off mothers and replacing them with aunts could be easily misunderstood. He was close to his own mother, as he was also to his Aunt Kate, who lived with the family for most of James’s upbringing, and travelled with them when they crossed and recrossed the Atlantic. But he also sought to get away from his mother, and managed to do so by settling in Europe. He was devoted to his mother and he arranged not to see her much, thus making the devotion all the more heartfelt as time went on. He wrote to her and about her with considerable filial tenderness. His response to her death was one of genuine shock and grief.

  His connection to his mother, both close and tenuous, may be one of the reasons why he sought to erase so many mothers from his best work. It was an area that he did not want to explore; it was complicated and raw, too complicated and raw to be easily shaped into narrative. And his replacing her with aunts or surrogate aunts may have had something to do with the constant presence of his own Aunt Kate in the household, and we may be led to this view because James tended to use the hidden or secret shape of his own life, of his own fears, and find metaphors for them in his fiction. Thus killing off your mother and replacing her with your aunt might have satisfied some hungry need James had, which he kept locked in a cupboard in the house of fiction to be produced on special occasions.

  But this is too crude a reading, just as it is too easy to explore Jane Austen’s own life as an aunt, or her need to assert herself in her fiction as someone who had no mother worth speaking about, and offer these as reasons why she did not have mothers in her last three books. There is another way of reading James’s motives or reasons for sending mothers into eternity while his characters lived in finite time. It simply suited the shape of the story he was trying to tell; it was impelled by the novel rather than the novelist. In other words, it was a technical problem that the novel had, rather than a psychological problem of his own that James needed to address. In his fiction, he needed mothers to be absent because having them present would undermine his entire enterprise. The main protagonists of his best books enact a drama of self-reliance, self-invention; they live alone and unnurtured in their minds. James could make their aunts silly, foolish, capricious and eccentric, and thus make their arrival and departure interesting and delicious for the reader, but he could not bring himself to create a very foolish or indolent mother as Austen had done in Pride and Prejudice and Mansfield Park. This was not because he didn’t have the heart or the urge – he did, after all, create bad and capricious mothers in works such as What Maisie Knew and The Spoils of Poynton – but because such an approach would not be subtle, would be too easily comic, would destroy the level of moral seriousness that he sought to conjure up in how he displayed his characters and let them respond to each other.

  Dr Sloper’s loss of his wife and second child in Washington Square is seen not only as personal but as professional. ‘For a man whose trade was to keep people alive, he had certainly done poorly in his own family,’ James writes. When Catherine, his only living child, is ten, Dr Sloper ‘invited his sister, Mrs Penniman, to come and stay with him’. Mrs Penniman, whose first name is Lavinia, ‘had married a poor clergyman, of a sickly constitution and a flowery style of eloquence, and then, at the age of thirty-three, had been left a widow, without children, without fortune – with nothing but the memory of Mr Penniman’s flowers of speech, a certain vague aroma of which hovered about her own conversation’. She is interested in melodrama and romance, she is a schemer, she has, James writes, ‘a taste for light literature, and a certain foolish indirectness and obliquity of character. She was romantic, she was sentimental, she had a passion for little secrets and mysteries.’

  This allows her to scheme and meddle, it allows her to amuse the reader, but it allows her also to stand in great opposition to Catherine Sloper, despite her efforts to be helpful and supportive. Her presence in the book allows Catherine to be more alone, allows her to become herself with greater force and conviction, allows the reader to see Catherine more clearly, enter her spirit more intensely. Catherine knows how to feel, and the novel is an exploration and a dramatization of this knowledge and these feelings. As the short novel proceeds, what Catherine feels becomes more solid and more complex; she becomes almost heroic in her steadfast solitude, her single-mindedness, her stubbornness. James has taken not only the figure of Fanny Price, the young girl as dull and silent orphan from Mansfield Park, but also the orphan from folk tales, and he has given her a scheming aunt, a loathsome father and a pent-up sexuality. He has also offered her silence
, the silence that only the novel can exploit with exact plenitude as it takes over her yearning spirit and allows her motives a painful complexity. Part of Catherine’s strange nobility comes from the fact that she is alone in the world, her mother is absent, her aunt is a fool.

  In The Portrait of a Lady, written soon afterwards, Mrs Touchett, Isabel’s aunt,

  was a plain-faced old woman, without graces and without any great elegance, but with an enormous respect for her own motives … She was not fond of the English style of life, and had three or four reasons for it to which she currently alluded; they bore upon minor points of that ancient order, but for Mrs Touchett they amply justified nonresidence. She detested bread sauce, which, as she said, looked like a poultice and tasted like soap; she objected to the consumption of beer by her maid-servants; and she affirmed that the British laundress … was not a mistress of her art.

  Thus in his introduction to both Mrs Touchett and Mrs Penniman, James can use a style that one could describe as self-amused. The sentences chosen to describe both aunts, as indeed the very names chosen for these personages, must have been enjoyable to compose. They set a tone, but oddly enough, it is not a tone for the novel itself, which will have a different tone and texture. Rather, they alert the reader that the heroine who will suffer in the book will be alone in her suffering, it will be done in silence, with no terms for it that belong to any woman of the previous generation. These are novels that project the individual as alone in the world, her singleness a metaphor perhaps for how the world is moving and developing, and with echoes of the space in which capital must be acquired and how it must grow; but these non-fictional issues are side-shows, the individual is alone in these novels more than anything else as a way of allowing the novels themselves to breathe and thrive, to live dynamically. It is for this that the young women Catherine Sloper and Isabel Archer will have to be removed from the control and the cocoon of family. What they do, what they decide, how they live, will have a stark drama; nothing will be inevitable or part of a communal system of feeling, something passed on to generations. The idea of generation in these novels is not something organic and biological; generation occurs as energy in the individual, self-made conscience, it happens there alone.