Freya Johnston – författare

''Jane Austen practising'' Virginia Woolf Three notebooks of Jane Austen''s teenage writings survive. The earliest pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody. Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer''s eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen''s later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misdemeanour, theft, and even murder prevail.

''Jane Austen practising'' Virginia Woolf Three notebooks of Jane Austen''s teenage writings survive. The earliest pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody. Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer''s eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen''s later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misdemeanour, theft, and even murder prevail.

The traditional view of Samuel Johnson as hostile to particulars, trifles, and aesthetic mediocrity only half-explains his authorial character. Samuel Johnson and the Art of Sinking 1709-1791 argues that, in a period dominated by social and literary hierarchies, Johnson''s works reveal a defining interest in ''little'', ''mean'', or ''low'' topics and people.Freya Johnston moves away from a critical emphasis on what literature of this period excludes, to consider its modes of including recalcitrant material. Of necessity finite, any piece of writing is informed by the subject matter it omits or to which it indirectly alludes. How can we identify the peripheral topics or characters purportedly ''excluded'' from a text, unless it provides compelling inferences that oblige us to supply the omission? In which case, something subtler is at work thanbarefaced proscription.Rehearsing the comparative merits of great and little things, Johnson and his contemporaries tested the opposing claims of pagan and Christian authority. Ancient criticism, and its eighteenth-century adherents, held that each subject required an appropriate style: little matters call for the low, lofty ones for the high. Yet Gospel writers stressed Christ''s incarnation as a praiseworthy and imitable descent to the humanly little — one that is compatible with the most sublime style.Through a series of close readings, this book examines how Johnson conceived of his relationships to and with the margins of writing and of society. It proposes that his literary and critical practice is neither inclusive nor exclusive in its attitudes towards peripheral things.

Samuel Johnson: The Arc of the Pendulum offers unique insight into the works of Samuel Johnson by re-considering William Hazlitt''s oft-cited comparison between Johnson''s prose and a pendulum. In 1819, William Hazlitt condemned Samuel Johnson''s prose style as ''a species of rhyming'' in which ''the close of the period follows as mechanically as the oscillation of a pendulum, the sense is balanced with the sound''. Predictable, formulaic, and unresponsive,Hazlitt''s Johnson was ''incapable of latitude and compromise, a mere automaton who rebounded from one position to its opposite extreme''.This collection of essays focuses on Johnson''s works, rather than perceptions of his personality, and argues that Johnson''s perceived erratic opinions reflect an understanding of the complexity, instability, and contradictions of the world in which he lived. The volume challenges Hazlitt''s influential reading of the Johnsonian pendulum, focusing on the uses and enjoyments of inconsistency, and the varieties of instability, irresolution, and active change which are revealed by and within Johnson.Chapters from a strong team of contributors present new perspectives on Johnson''s work, life, and reception. The chapters address questions of style, authority, language, lexicography, and biography across a range of Johnson''s writings from the early poetry to the late prose. Johnson emerges from these chapters not as a writer trapped within a set of oppositions, but as one who engages imaginatively and vigorously with flux, dynamism, and inconclusiveness.From the late eighteenth century onwards, to be ''Johnsonian'' has typically been made synonymous with firm resolution and trenchant opinion, with polysyllabic excess and a style removed from the exigencies and accidents of ordinary existence. And yet, as this volume suggests, Johnson''s life and writings embody the critical and creative play of ideas, a form of interaction with the world which is shaped by instability, contradiction, and combat.

Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths'' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people''s arguments, but of the whole business of criticism in general, with what he calls its ''over-concentration on a narrow range of examples . . . such over-concentration warps our thinking''. Implicit and explicit throughout his work is the argument that ''an appropriately wide range of instances is essential to making progress in conceptualisation''; that what we need, in order to do better thinking, is ''a keener attention to a greater variety of examples''. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.

Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths'' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people''s arguments, but of the whole business of criticism in general, with what he calls its ''over-concentration on a narrow range of examples . . . such over-concentration warps our thinking''. Implicit and explicit throughout his work is the argument that ''an appropriately wide range of instances is essential to making progress in conceptualisation''; that what we need, in order to do better thinking, is ''a keener attention to a greater variety of examples''. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.

'Jane Austen practising' Virginia WoolfThree notebooks of Jane Austen's teenage writings survive. The earliest pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody.Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer's eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen's later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misdemeanour, theft, and even murder prevail.

Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people's arguments, but of the whole business of criticism in general, with what he calls its 'over-concentration on a narrow range of examples . . . such over-concentration warps our thinking'. Implicit and explicit throughout his work is the argument that 'an appropriately wide range of instances is essential to making progress in conceptualisation'; that what we need, in order to do better thinking, is 'a keener attention to a greater variety of examples'. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.

The traditional view of Samuel Johnson as hostile to particulars, trifles, and aesthetic mediocrity only half-explains his authorial character. Samuel Johnson and the Art of Sinking 1709-1791 argues that, in a period dominated by social and literary hierarchies, Johnson's works reveal a defining interest in 'little', 'mean', or 'low' topics and people.Freya Johnston moves away from a critical emphasis on what literature of this period excludes, to consider its modes of including recalcitrant material. Of necessity finite, any piece of writing is informed by the subject matter it omits or to which it indirectly alludes. How can we identify the peripheral topics or characters purportedly 'excluded' from a text, unless it provides compelling inferences that oblige us to supply the omission? In which case, something subtler is at work than barefaced proscription. Rehearsing the comparative merits of great and little things, Johnson and his contemporaries tested the opposing claims of pagan and Christian authority. Ancient criticism, and its eighteenth-century adherents, held that each subject required an appropriate style: little matters call for the low, lofty ones for the high. Yet Gospel writers stressed Christ's incarnation as a praiseworthy and imitable descent to the humanly little -- one that is compatible with the most sublime style. Through a series of close readings, this book examines how Johnson conceived of his relationships to and with the margins of writing and of society. It proposes that his literary and critical practice is neither inclusive nor exclusive in its attitudes towards peripheral things.

Samuel Johnson: The Arc of the Pendulum offers unique insight into the works of Samuel Johnson by re-considering William Hazlitt's oft-cited comparison between Johnson's prose and a pendulum. In 1819, William Hazlitt condemned Samuel Johnson's prose style as 'a species of rhyming' in which 'the close of the period follows as mechanically as the oscillation of a pendulum, the sense is balanced with the sound'. Predictable, formulaic, and unresponsive, Hazlitt's Johnson was 'incapable of latitude and compromise, a mere automaton who rebounded from one position to its opposite extreme'. This collection of essays focuses on Johnson's works, rather than perceptions of his personality, and argues that Johnson's perceived erratic opinions reflect an understanding of the complexity, instability, and contradictions of the world in which he lived. The volume challenges Hazlitt's influential reading of the Johnsonian pendulum, focusing on the uses and enjoyments of inconsistency, and the varieties of instability, irresolution, and active change which are revealed by and within Johnson.Chapters from a strong team of contributors present new perspectives on Johnson's work, life, and reception. The chapters address questions of style, authority, language, lexicography, and biography across a range of Johnson's writings from the early poetry to the late prose. Johnson emerges from these chapters not as a writer trapped within a set of oppositions, but as one who engages imaginatively and vigorously with flux, dynamism, and inconclusiveness. From the late eighteenth century onwards, to be 'Johnsonian' has typically been made synonymous with firm resolution and trenchant opinion, with polysyllabic excess and a style removed from the exigencies and accidents of ordinary existence. And yet, as this volume suggests, Johnson's life and writings embody the critical and creative play of ideas, a form of interaction with the world which is shaped by instability, contradiction, and combat.

A reexamination of Austen’s unpublished writings that uncovers their continuity with her celebrated novels—and that challenges distinctions between her “early” and “late” workJane Austen’s six novels, published toward the end of her short life, represent a body of work that is as brilliant as it is compact. Her earlier writings have routinely been dismissed as mere juvenilia, or stepping stones to mature proficiency and greatness. Austen’s first biographer described them as “childish effusions.” Was he right to do so? Can the novels be definitively separated from the unpublished works? In Jane Austen, Early and Late, Freya Johnston argues that they cannot.Examining the three manuscript volumes in which Austen collected her earliest writings, Johnston finds that Austen’s regard and affection for them are revealed by her continuing to revisit and revise them throughout her adult life. The teenage works share the milieu and the humour of the novels, while revealing more clearly the sources and influences upon which Austen drew. Johnston upends the conventional narrative, according to which Austen discarded the satire and fantasy of her first writings in favour of the irony and realism of the novels. By demonstrating a stylistic and thematic continuity across the full range of Austen’s work, Johnston asks whether it makes sense to speak of an early and a late Austen at all.Jane Austen, Early and Late offers a new picture of the author in all her complexity and ambiguity, and shows us that it is not necessarily true that early work yields to later, better things.

A reexamination of Austen’s unpublished writings that uncovers their continuity with her celebrated novels—and that challenges distinctions between her “early” and “late” workJane Austen’s six novels, published toward the end of her short life, represent a body of work that is as brilliant as it is compact. Her earlier writings have routinely been dismissed as mere juvenilia, or stepping stones to mature proficiency and greatness. Austen’s first biographer described them as “childish effusions.” Was he right to do so? Can the novels be definitively separated from the unpublished works? In Jane Austen, Early and Late, Freya Johnston argues that they cannot.Examining the three manuscript volumes in which Austen collected her earliest writings, Johnston finds that Austen’s regard and affection for them are revealed by her continuing to revisit and revise them throughout her adult life. The teenage works share the milieu and the humour of the novels, while revealing more clearly the sources and influences upon which Austen drew. Johnston upends the conventional narrative, according to which Austen discarded the satire and fantasy of her first writings in favour of the irony and realism of the novels. By demonstrating a stylistic and thematic continuity across the full range of Austen’s work, Johnston asks whether it makes sense to speak of an early and a late Austen at all.Jane Austen, Early and Late offers a new picture of the author in all her complexity and ambiguity, and shows us that it is not necessarily true that early work yields to later, better things.