Dividing fact from fiction, by John Stafford

Referring to the unclear dividing fact and fiction in literature, Zunshine writes:
“Think of our own bookshops’ commitment to carefully demarcating shelves containing fiction from those containing non-fiction, even though the former offer plenty of information that deserves to be assimilated by our cognitive systems as architecturally true, and the latter contains a broad variety of cultural fictions (just consider treatises on dating and dieting).(Zunshine, Lisa, Why we read books, Section 5 of Part 1, Location 1314 in Kindle version)

This has had legal implications: the authors of “The Holy Blood and the Holy Grail” took Dan Brown to court claiming that Brown had plagiarised the framework of their book for “The Da Vinci Code”. The court ruled that because “Holy Blood” was alleged by its authors to be history, its premises could be interpreted in any fictional work without any copyright infringement (Wikipedia, edited)

Thus if it’s non-fiction, the facts can’t be copyright!

John Stafford

On Northanger Abbey and the post-chaise, by John Stafford

Jane Austen, Northanger Abbey 1817 (written 1798-9)

On re-reading Northanger Abbey (after a fifty-year break) I was surprised by how much was familiar to me, but also how much seemed to be missing! I particularly remembered more detail about travel by carriage that seemed to show the conventions of the time. On checking the Internet, I found that the details I was missing were actually from Pride and Prejudice, where the types of carriage used for various purposes are used explicitly to signal the social status of the passengers and as a means to shock the reader.

A blog entry on Austenblog by  Margaret C. Sullivan: A Closer Look at Carriages and Characters in Pride and Prejudice https://austenblog.com/2010/07/02/a-closer-look-at-carriages-and-characters-in-pride-and-prejudice/ has information relevant to Mr Thorpe’s carriage:
“Younger gentlemen’s personal vehicles were usually either a gig or a curricle. These fast, sporty carriages were similar in being open vehicles with two wheels, seating two comfortably, and driven by one of the passengers; the main difference being that a gig was equipped to be pulled by one horse and a curricle by two, thereby doubling the horsepower—a Trans Am to the gig’s Firebird, if you will. Mr. Collins, predictably, owns a gig, in which he takes Sir William driving while he is visiting Hunsford. Mr. Darcy, also predictably, owns a curricle, which he uses to drive Georgiana to visit Elizabeth at the inn in Lambton.”

And specifically mentions the post-chaise that is ignominiously hired by Catherine Morland:  “A woman of gentle birth would not have travelled alone, especially in a hired vehicle, though it was sufficient for Elizabeth and Maria to have each other as a companion. (To step away from P&P for a moment, imagine what Lady Catherine would have to say about General Tilney sending poor Catherine Morland home alone on the post-chaise with no servant in Northanger Abbey! )”

Catherine Morland is sent about sixty miles on an eleven hour journey alone in a carriage at a cost of £3-4 (they were twelve pence a mile plus extras, and Catherine alludes to the extras: “Her youth, civil manners and liberal pay procured her all the attention that a traveller like herself could require.”)

The experience of travelling without supervision for the first time was a rite of passage in the twentieth century. It made you feel a bit more grown up. In my case it was to work in a hotel as a waiter in Swanage in the school summer holidays when I was sixteen. Travelling by train was something I had only done before with my family for holidays. Others did such a trip for a university interview or to start university. Before the first world war, most people never left home, but by the second world war men and women, boys and girls were being drafted into posts far away.

I believe most British students don’t travel alone until they have their own transport now, the normal mode being Mum’s car. Students from overseas of course have much more difficult journeys, but I wonder if a transcontinental trip by plane is much more challenging than Catherine’s sixty miles in very different times.

The experiment begins, by John Stafford

It’s an experiment maybe. Get together a brilliant university staff member, a dozen sparkling third year undergraduates and a dozen retired people of various levels of education. Give them a reading list of books so varied that no-one has read them all already and see what they make of them.
Is that a fair representation of what we are doing?

I have a way of reading a new non-fiction book that’s a result of choosing books for a public library in a past career:
1. scan through it quickly to see its structure and ease of understanding,
2. pick a short section I can understand and read it
3. read the whole thing, looking up words and references I don’t understand (there was rarely time to do this as a librarian!)
4. make notes on anything I want to take from it.

James Wood (2015) The Nearest Thing to Life. Jonathan Cape. isbn 9780224102049 was the first week’s book.

I took it at first sight to be an autobiography, as there are childhood and youth anecdotes illustrating many points, and chose the section about his ‘unedifying girlfriend’ (p6) as a good starting place. I had to look up ‘unedifying’. I was reassured that the book was accessible enough to understand its contents. Falsely reassured, though, because although I can begin to grasp the concepts of serious noticing and secular homelessness, I am far from doing so. I have read some of the books referred to in the text, but not many. The quote from John Berger (p. 45) was the first clue I had to start thinking about the meaning of Wood’s text, and I have read some John Berger and read more about art than literature.
I have one note from this first full reading: that a text necessarily assumes some knowledge of its subject on the part of the reader, and the writer must provide enough hooks to what a reader may already know. Still thinking about some other ideas.
I would not have chosen to read this book had it not been on the list, nor would I have chosen it for my library unless it had been requested by a reader

I am in various stages of reading the other set texts, and I am also looking at W.G.Hoskins Two Thousand Years of Exeter, rev ed 2004, to learn something of my new home town; and Gordon C. Fisher, Blender 3d basics 2012, which is about a computer drawing program.

John Stafford