Jane Austen's Worthing

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Jane Austen’s Worthing A sequence of twelve displays telling the story of Jane Austen’s visit to Worthing in 1805 and setting out the parallels between Worthing and her fictional town of Sanditon Montague Terrace (centre-left), the Sea House Inn (centre-right) and the New Inn (far right), painted by John Nixon around 1805–1810 Jane Austen, her mother, her sister Cassandra, and their friend Martha Lloyd stayed at Stanford’s Cottage in Worthing for at least seven weeks at the end of 1805, and probably for fifteen. During their visit, Jane and Cassandra became friends with Edward Ogle, who was Worthing’s leading citizen at the time. Ogle was a brilliant and energetic entrepreneur who, over the course of the first decade of the nineteenth century, almost single-handedly transformed Worthing from a straggling village into a modern seaside resort. Early in 1817, almost exactly eleven years after her stay in Worthing ended, Jane Austen began writing a novel partly inspired by her experiences in the town. This novel – which she gave no title, but is today known as Sanditon – had to be abandoned after a few months as the painful and debilitating illness that killed her later that year took hold. Most Jane Austen critics are of the opinion that Sanditon is in no way inferior to her best work – and that, if it had been completed, it would have taken its place among her other great novels, such as Pride and Prejudice and Sense and Sensibility . The text of these display-boards consists of material adapted by Antony Edmonds from his 2013 book Jane’s Austen’s Worthing: The Real Sanditon , where all but three of the pictures also appear. The design of the display-boards is by Carly Vaughan. The pictures of the Sea House Inn & the New Inn, the Teville Gate Tollhouse, Montague Terrace, Wicks’s Baths, the Colonnade & Warwick House, and South Street appear by courtesy of Worthing Museum & Art Gallery; the pictures of Stanford’s Cottage, Bedford House and Offington House by courtesy of West Sussex County Council Library Service, www.westsussexpast.org.uk; and the picture of Fanny Austen by courtesy of Jane Austen’s House Museum, Chawton..

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Sanditon Scripted by Emmy® Award Winner Andrew Davies Premiering on MASTERPIECE on PBS January 12, 2020
Jane Austen’s Final Unfinished Work—Finished! Sanditon Scripted by Emmy® Award Winner Andrew Davies Premiering on MASTERPIECE on PBS January 12, 2020 Jane Austen was chronically ill with a mysterious disease in early 1817, when she turned her thoughts to a happier subject. She started work on a witty and delightful novel set in a seaside town. She never finished it. Now, noted screenwriter Andrew Davies (Pride and Prejudice, Les Misérables, Primetime Emmy® winner for Little Dorrit) picks up Austen’s plot and takes it in a glorious and satisfying direction, on Sanditon. Produced by Red Planet Pictures, the eight-hour series will premiere on MASTERPIECE on PBS on Sunday, January 12, 2020 at 9pm ET. MASTERPIECE’s bold and lavish adaptation of Jane Austen’s final work stars Rose Williams (Curfew) as Austen’s lively but levelheaded heroine, Charlotte Heywood; Theo James (Divergent) as the humorous, charming (and slightly wild!) Sidney Parker; Anne Reid (Years and Years) as the forthright grande dame of Sanditon, Lady Denham; Kris Marshall (Love Actually) as Sanditon’s compulsively enterprising promoter, Tom Parker; and Crystal Clarke (Ordeal by Innocence) as the mysterious West Indian heiress, Miss Lambe. Also appearing are Kate Ashfield (Secrets and Lies) as Tom’s stalwart spouse, Mary; Jack Fox (Riviera) as the fortune hunter Sir Edward Denham; Charlotte Spencer (Watership Down) as Sir Edward’s scheming sister, Esther; and Lily Sacofsky (Bancroft) as the enigmatic and elegant Clara Brereton. With four acclaimed Austen adaptations to his credit (Pride and Prejudice, Sense and Sensibility, Northanger Abbey and Emma), plus the Pride and Prejudice modernization Bridget Jones’s Diary, Andrew Davies is no stranger to Jane Austen’s story strategies— which makes him the perfect candidate to channel the creative spirit of one of the world’s most amusing and penetrating novelists.
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Cambridge University Press 978-0-521-53417-8 - Jane Austen: A Family Record: Second Edition Deirdre Le Faye Frontmatter More information JANE AUSTEN: AFAMILY RECORD This book is the outcome of years of research in Austen archives, and stems from the original family biography by W. and R. A. Austen- Leigh, Jane Austen: her Life and Letters. Jane Austen: A Family Record was ﬁrst published in 1989, and this new edition incorporates information that has come to light since then, and provides new illustrations and updated family trees. Le Faye gives a detailed account of Jane’s life and literary career. She has collected together documented facts as well as the traditions concerning the novelist, and places her within the context of a widespread, affectionate and talented family group. Readers will learn how Jane transformed the stuff of her peaceful life in the Hampshire countryside into six novels that are amongst the most popular in the English language. This fascinating record of Austen and her family will be of great interest to general readers and scholars alike. Deirdre Le Faye has been actively researching the life and times of Jane Austen and her family for the last thirty years. In 1995 she pre- pared a completely new edition of Jane Austen’s Letters. She has also written several other books: a short illustrated biography, Jane Austen (1998), Jane Austen’s ‘Outlandish Cousin’, the Life and Letters of Eliza de Feuillide (2002) and Jane Austen: The World of Her Novels (2002)as well as numerous articles in literary journals. © in this
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1775 on 16 December, Jane Austen, the Seventh of Eight Children Of
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Multiculturalism"
Resorting and Consorting with Strangers: Jane Austen's "Multiculturalism" INGER SIGRUN BRODEY 4558 4th Avenue, NE, Seattle, WA 98105 Seattle, Washington To speak of Jane Austen's multiculturalism might seem a bit strange, especially given how little Austen actually travelled, and how little direct contact she had with other "gsl1s1ss"-even other European cultures, let alone cultures in more remote parts of the world. Given her relatively sheltered life, we might think that Austen's would be an unimportant voice in modern debates about unity and diversity, or about the importance of local culture versus national culture. How- ever, if we view the multicultural debates a little more broadly, and think about what the word means more literally, Austen may actually have much to add to our thoughts about belonging, isolation, inti- macy, and estrangement-and to the possibility of growth or decay attached to these issues. My purpose in addressing Austen's version of multiculturalism and in using the word in an unconventional manner, will, however, not be to tie it to contemporary issues, but to present a persistent theme that appears prominently in Sanditon, and other Austen novels, about what it means to have intense encounters with "otherngss"-1ryfus1 it means to meet strangers, or even to be a stranger oneself. On the surface, Sanditon would seem a fruitful place to look for such a theme, for it features characters that suggest Austen might have been expanding her horizons in interesting ways, such as Miss Lambe, the wealthy West Indian who is described as half-mulatto. Family tradition also has it that Austen intended to entitle her novel, The Brothers: it would then also have been the first of her works to feature men in the title.
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Sickness and Silliness in Sanditon
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Rev. George Austen, a Second Generation Anglican Clergyman, and Cassandra Leigh, Whose Father Was Also an Anglican Clergyman
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