Literature and Film a Guide to the Theory and Practice of Film Adaptation

LAFA01 7/26/04 4:02 PM Page iii

Literature and Film A Guide to the Theory and Practice of Film Adaptation

Edited by Robert Stam and Alessandra Raengo LAFC01 7/23/04 6:12 PM Page 53

Chapter 1

Improvements and Reparations at Mansfield Park Tim Watson

When Miramax released Mansfield Park in 1999, the movie was greeted with outrage from critics and fans who found its emphasis on slavery unpalatable and unfaithful to the Jane Austen novel on which Patricia Rozema’s film was based.1 Customer reviews of the DVD version of the film on the amazon.com website carry many such expressions of anger: “I’m sure we all understand the vulgarity of slavery without needing to see it graphically displayed in a format that Austen herself would have refused to watch,” wrote one viewer, referring to the scene in the film in which Fanny Price discovers Tom Bertram’s sketchbook of brutal and pornographic scenes from the Bertram family’s Antigua plantation; another viewer claimed, “The moral issue of slavery, not even addressed in the novel, is tossed in, seemingly on a whim.”2 “Rubbing slavery in the faces of the audience,” wrote “hannah12,” “misses what Ms Austen is about and why people still read her books. Ms Austen did not write about the political issues of the 18th–19th centuries. She wrote about relationships.”3 In other words, politics is still “what some read [and watch] Austen to avoid,” as Claudia Johnson put it in her review of Rozema’s film in the Times Literary Supplement.4 However, while outraged fans imagined Jane Austen rolling or spinning in her grave in response to Rozema’s Mansfield Park,5 in many ways the film’s emphasis on the slavery subtext in Austen’s novel was simply the logical outcome of the revisionist historiography and literary criticism of the past twenty years or so that has placed the question of slavery at the center of discussion of early nineteenth-century British history in general and of Austen’s Mansfield Park in particular, and has placed this hitherto least appreciated of her novels at the center of the Jane Austen canon. While individual critics certainly disagree about both the importance and the meaning of Austen’s refer- ences to the Bertrams’ Antigua plantation in the novel, historicist interpretations of Mansfield LAFC01 7/23/046:12PMPage54 54 Chapter 1 Tim Watson it isneverthelessacommonexperienceofmodernreaders slavery, anddespitetheirformalanalogytothedifficultstructureofAusten’snovelitself, Austen’s novel.DespitetheundoubtedimportanceofrevisionisthistoriesBritish parallel betweenfanoutrageatRozema’sfilmandacademicdisappointmentwith Pemberley, infact,ifwereadtheJaneAustencriticismcarefully,canseeacurious and overJaneAusteningeneral,againstthemiddlebrowinhabitantsofRepublic and EricWilliamsasenablinghisownanalysisofJaneAusten’snovel. cism of into Austencriticism.In work onthehistoryofslavery,abolition,andriseindustrialcapitalismhasfed meeting pointorsiteofinfiltrationbyacademiccommentaryintothemassmedia.” apotheosis ofthesevariouslypoliticalreadingsJaneAusten:itcertainlyrepresentsa As JohnWiltshireputsitinhisrecentbookonAustenadaptations,“Thefilmisthe Park tell thegoodguysfrombad–appearedtomatchintricaciesandironiesof tication andironyofthishistoriographicalapproach–inwhichitissometimeshardto Austen criticismasthemassivelypopularRepublicofPemberleywebsite. hegemonic inacademia,eveniftheyhavemadelittleheadwaysuchforumsofJane Park linking uptoformalargebodyofwater:“Thetorrentwhich sweptawaytheSlave-trade.” Clarkson’s book,withthenamesoffamousabolitionistsattached tostreamsortributaries, is famouslylikenedtoariver.Afold-outmapofthehistory ofabolitionisincludedin the movementtooutlawbuyingandsellingofAfricans inthetransatlanticslavetrade and AccomplishmentoftheAbolitionAfricanSlave-Trade best-known versionsofthatsimplehistoricalnarrative.Inhis of movies’unfaithfulnessto“thebook.” ginary “original”storyofslavery–justasviewersfilmadaptationsroutinelycomplain readers oftenexperiencedisappointment,loss,andevenasenseofinfidelitytoanima- Faced withthecomplexitiesofplot,character,andnarrativepointviewinnovel, all itssubtlety,whatthenovellacksispreciselyasimple,heroicnarrativeofabolition. central totheelaborationofnewEnglishculturesinnineteenthcentury. second Britishempires,andofsomethewaysinwhichcolonialquestionswereactually relationships betweendomesticandcolonialintheinterregnumfirst inclusion inthisnewcomplexhistoriography,asanexemplaryrecorderofthemultiple Consequently, theliberalandhumanitarianJaneAustenwasanobviouscandidatefor of imperialism,andinparticularthe“civilizingmission,”laternineteenthcentury. hallmark oftheabolitionistmovementinBritain–helpedtopavewayfornewforms itarian andliberalattitudesinthelateeighteenthearlynineteenthcenturies– that itishardlycontroversialnowadaystoargue,forinstance,emerginghuman- One ofJaneAusten’sheroes,theabolitionistThomasClarkson, providedoneofthe However, whilethefilmappearstovalidateacademichegemonyover Historians haveapproachedabolitionandemancipationasmany-sidedphenomena,so , intermsofitsplacethediscoursesslaveryandimperialism,havebecome itself. AndsoRozema’sfilmpickeduponandvalidatedthisacademicapproach. Mansfield Park , EdwardSaidcitestheworkofRobinBlackburn,C.L.R.James, Culture andImperialism , thereferencepointforalllatercriti- History oftheRise,Progress, Mansfield Park , firstpublishedin1808, 7 Mansfield Park 9 6 The sophis- Revisionist Mansfield that, for 10 11 8 , LAFC01 7/23/046:12PMPage55 on thequestionofslavery,lie dissatisfaction withAusten’sversionofFannyPrice,andthenovel’sequivocation in theestablishmentofslaveryasacrimeagainsthumanity.Behindourcontemporary autonomous, self-fashioning,andalwayscapabletherefore of“improvement.”Ananalysis evil isacomplicitywithanunderstandingofhistorythat imaginestheliberalsubjectas complex thanitseems;thatthepricewepayforagreeing thatslaverywasanhistorical this apparentlysimpleandunambiguousnarrativeofemancipation is,infact,more historical evil. in theUSSouth1950s,allofwhichhelpedtoestablish slaveryasanunambiguous Readers andcriticsof Rolph Trouillothasusefullyremindedusinhisbook academic disciplineofhistoryisonlyone,andoftennotthemostimportantasMichel- history isproduced,disseminated,andconsumedatmanydifferentsites,ofwhichthe And whatiscrucialherethatthisfantasyofcontrolitselfaresultthefact relation” totheculturalobjectthatviewersoffilmversionsclassicnovelsexperience. in relationtofilmadaptations;thatitspeaksacertainlossof“ourownphantasmatic Stam pointsoutthatthereisa“grainoftruth”inthelanguagefidelityandbetrayal that are“goodforus,”orsanctionedbytheprotocolsofacademichistoriography.Robert of ourowninvestmentinparticularversionshistory,andnotnecessarilythe fans’ angeratRozema’sfilm’s“betrayal”ofAusten’stale–weoughtalsotobeaware “fidelity” asawayofunderstandingfilmadaptations–andquickthereforetodismiss on thepartofnovel. for example–actuallycarriestheforceofanactivesilencing,suppression,andevasion silence oftheBertramsinresponsetoFanny’sfamousquestionaboutslavetrade, the Englishgentrydependentonwealthderivedfromslavery–carefulstagingof plex systemofsuppression,evasion,andsilencingnecessaryforthecomfortablelife as clearcutandsweepingClarkson’sriver.Austen’scarefullayingbareofthecom- an abolitionistoranewlyliberatedslave.” Edward Said,“toexpectJaneAustentotreatslaverywithanythinglikethepassionof ageous asheroppositiontotheattentionsofHenryCrawford.“Itwouldbesilly,”writes declared, thensheshouldhavemadeFanny’soppositiontoslaveryasexplicitandcour- ing thenotionthat“JaneAusten’snovelshaveapervadingmodesty.” elegant andsimpletaleof“relationships,”manners,prettycountryhouses,validat- victory –justasviewersofJaneAustenadaptationssometimeslongforhistoryan still longforhistoryassimplestory–Clarkson’sriverofjusticerunningtoward plicity andambiguityoftheeventsthishistoricalperiodAusten’snovel,we readers wishforandexpect.Whilewemayrecognize,takepleasurein,themulti- be Indians?” the historyofAmericaisbeingwritteninsameworldwherefewlittleboyswantto the WesternliesbehindTrouillot’srhetoricalquestion:“Isitreallyinconsequentialthat I believe,however,thatacarefulhistoricalreadingofAusten’s novelwillshowthat Thus, whileacademicviewersandreadersarequicktoscornthepopularlanguageof 17 Likewise, filmandtelevisionareundoubtedlythemostinfluentialelements Mansfield Park 12 If JaneAustenreally“loved”ThomasClarkson,assheonce Roots , Eyes onthePrize have oftenlongedforanotherkindofstory,one 13 And yetthisisoftenpreciselywhatmodern , andimagesofcivilrightsprotests Silencing thePast 14 . 16 The genreof 15 55 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage56 56 Chapter 1 Tim Watson Phillips, thisnewhistoriographyprefiguredlatersocialhistory byrepresenting“worlds of historiographythatbecame“commonsense”tolaterreaders. AsnotedbyMarkSalber ography requiringthisliberalsubjectasbothitsprecondition anditsendpoint–theform requires thisimprovablesubjectasthepreconditionfor historicalrejectionofslavery. his orhercapacityforimprovement,andthesimplenarrative ofemancipationwhich nings ofthemodernfigureautonomousliberalsubject, whoiscruciallydefinedby agricultural practices.Tracingtheseconnectionsreveals some ofthecomplicatedbegin- and materiallivingconditionswaslinkedto“improvements”inestatemanagement in theBritishWestIndies,whichimprovementor“melioration”ofslaves’moral this confusionparallelsandisinformedbythecontemporarydebateoverimprovement improvement ofFanny’smindiswelcomed.Lessfrequentlyremarkeduponthefactthat ambiguous: carelessimprovementstocountryestatesaredeprecated,whilethecareful a future“newhistoricist”lookingbackatRozema’sfilmversionof contemporary world:thesimplenarrativeorlogicofreparationsforslavery.Iimagine of causingustooverlook,marginalize,ordismissanemergentcommonsenseinthe apparently straightforwardnarrativeofemancipationmightalsohavetheunintendedeffect simple narrativesalwayshavecomplexandcontradictorycomponents. specificity andcomplexityoversimplenarratives,butinitIalsohopetoshowthat belief inthesimplenarrativeofslavery.Inthisrespect,chapterendorseshistorical multiple andsometimescontradictorypresuppositionsthatliebehindcontemporary writers alike.Inotherwords,anewreadingof this Janus-facedfigureofimprovement,oneemployedbyproslaveryandabolitionist “emancipation,” whichreliesonthismodernsubjectforitsethicalcharge,growsoutof of Austen’snovel–inwhich“improvement”isakeyfigureshowsthattheidea Jane Austen’s been acriticalcommonplacethattheproblemof“improvement”liesatcenter the Estate Since thepublicationinrapidsuccessionofAlistairDuckworth’s logic ofreparations. that Rozema’sfilmconstitutesbothanevasionof,butalsoengagementwith,thisnew us awayfromtheelitistpleasuresofcomplexityandambiguity.Iconcludebyarguing perhaps anattentivenesstothenewsimplenarrativeofreparationswillsometimesdraw in thecontextofdebatesoveremancipation1810sand1820s.Inotherwords, the questionofslaveryreparations,justascriticsAusten’snovelhaverepositionedit notice thatitappearedinthemidstofagreatupsurgeinterestandactivismaround Mansfield Park However, Ithinkthatanemphasisonthecomplexitiesandambiguitiesof (1971) andRaymondWilliams’s Mansfield Park was publishedatthemomentofemergenceanewform ofhistori- . 18 As hasbeenoftennoted,improvementinthenovelis Improvements The CountryandtheCity Mansfield Park , thenovel,reveals Mansfield Park The Improvementof (1973), ithas would LAFC01 7/23/046:12PMPage57 the organizingmodesofnarrative.” method andevaluation,fromtheselectionlegitimationofarchivessourcesto development an importantessayontheIrishfamine,by“adominanthistoricalconceptionofhuman modernity, andanewunderstandingofhistory,onemarked,asDavidLloydarguesin and othersnotinvolvedinstatecraft.” commercial lifeandeverydaymanners,withtheexperiencesofwomen,‘primitives,’poets, narrative conventions of socialexperienceandinwardfeelingthatwerehardtotranslateintothetraditional Walking intheparsonage’sshrubbery,Fannysuddenlybreaks intoherlongestspeechof her newfriendattheparsonageownedbyMary’ssister and brother-in-law,theGrants. Mary Crawfordstrikeupanewkindofintimacy,withFanny payingfrequentvisitsto ment, andthenewhistoriography.AfterSirThomas’sreturn fromAntigua,Fannyand conversation thatinfactbearstheweightofthesequestions ofimprovement,develop- potentially revolutionaryinnovationandchange. to manageandgoverntheeffectsofpastinpresent, withoutriskingsuddenand mining theirpowertostabilizefamilyandcommunitystructures:how,inotherwords, of howandwhentochangeinheritedsocialculturalformswithouttherebyunder- control. Throughthefigureofimprovement,then,novelstagesdifficultproblems at others,improvementappearstobelittlemorethanasynonymforvandalismandsocial point ofreference.Attimes,thenovelappearstoendorseimprovementaspositivechange; Park effectively? Clearly,improvementisanambiguous,evenJanus-faced,figurein amongst clergymenthatallowsthemtopreachmoredramatically,and,perhaps, to makeofEdmund’swarmembracethe“spiritimprovementabroad”(p.230) Sotherton estateconstitutes“improvement”(p.40),ontheotherhand,whatisreader aristocrat Rushworthisafoolforthinkingthatcuttingdowntheavenueoftreesathis of hermind,andextendingitspleasures”(p.18).Again,whileclearlythebumbling tions inparticular,“were narrator commentsthatFanny’scousinEdmund’sattentions,andhisbookrecommenda- the changesinFanny’smindandcharacterafterhertransfertoMansfieldPark: is compelledtoquestiontheinvocationofimprovementasapositivetermdescribe Ifso,thenthereader belief ofherequalimprovementinhealthandbeauty”(p.123)? has grownwhilehebeenaway,andwhensheblushes,findshimself“justifiedinhis of FannyonhisreturnfromAntigua:henotices,with“decidedpleasure,”how recoil atSirThomasBertram’sapparentlylecherousandcertainlyacquisitivejudgment narrator, andimpliedauthor’svaluejudgments,oftenathanklesstask.Arewemeantto to thereaderinfreeindirectdiscourse,fromwhichweneeddisentanglecharacter, and political–israrelypresentin some ofthecomplicatedstreamsfromwhichthishistoricalrivercommonsenseflowed. We seethisinalittle-noticedmomentofdialoguethe novel,anapparentlycasual The properregisterfortheevaluationofimprovement–moral,intellectual,architectural, : itlookstowardbothpastandfuture,mediatingthemwithoutallowingastable [that]isnotmerelyanethicalidealbutendthatregulateshistorical . . . Eighteenth-centurynarrativeswerealreadyconcernedwith . . . ofthehighestimportanceinassistingimprovement . . . 20 Mansfield Park A re-readingofthenovelinthislightallowsustosee 19 Austen’s novelstandsatthecrossroadsofanew . Thewordisalmostalwayspresented Mansfield 57 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage58 58 Chapter 1 Tim Watson cation ofthewondersnature,orlocalwisdomher uncle’sgardener. Revolution intheinterestsofamodernhistory,oneentirely atoddswithFanny’sinvo- on readers –certainlytojudgebythelackofattentionthispassagehasreceivedinwriting obliteration ofalltracestheparsonage’sprevioustenants,MrandMrsNorris. and Edmundattheendofnovel,theseimprovementsinfactrepresent reader canonlyguessatthisstage:theparsonagewilleventuallybehomeofFanny too muchattempted!”(p.143).Theconversationhasasymbolicimportancethatthe “taste” andcomments:“Thereissuchaquietsimplicityintheplanofwalk!Not an ornament”(p.143).Theseareproperimprovements:FannyadmiresMrsGrant’s into awalk,anditwouldbedifficulttosaywhethermostvaluableasconvenienceor never thoughtofasanything,orcapablebecominganything;andnowitisconverted Three yearsago,thiswasnothingbutaroughhedgerowalongtheuppersideoffield, everytimeIcomeintothisshrubberyammorestruckwithitsgrowthandbeauty. . . . made sincetakingovertheparsonagefromNorrises:“Thisispretty,verypretty the noveluptothatpoint,inwhichsherhapsodizesonimprovementsMrsGranthas of amodern,liberalsubjectthroughthediscipline hand, thenovel’semphasisonFanny’seducation,moraland intellectual,andthecreation is aparticularlystrikingemblemoftheambiguousfigure ofimprovement.Ontheone new eraofandforhistory.” “ushered intheageofhistoricism.JaneAustenlivedand wroteatthethresholdofthis of allmodernhistoricalnarratives. modern tastes–isexcessiveenoughtoenableusseethatthisinfactthestructure self-insertion intothenarrativeofhistory–inkeepingwithherLondonrootsand no wonderinthisshrubberyequaltoseeingmyselfit”(p.144).Mary’snarcissistic something likethefamousDogeatcourtofLewisXIV;andmaydeclarethatIsee munity memory,andaruralcastesystem–Maryreplies,“Tosaythetruth (p. 144)ontherichsoilofparsonagegrounds–invokingcustomarypractice,com- history ofthemodernsubject.WhileFannyrememberswords“myuncle’sgardener” the emergingmodernsubject,livesinnewregisterofhistory–whichisalways beyond controul!”(p.144).ButwhileFannyworriesaboutmemory,MaryCrawford, so obedient;atothers,bewilderedandweak;othersagain,tyrannic, failures, theinequalitiesofmemory goes ontomuseabout“somethingmorespeakinglyincomprehensibleinthepowers, three years,wemaybeforgetting–almostwhatitwasbefore”(p.144).She speech withadisturbingmeditationonthepastandmemory:“Perhaps,inanother question ofimprovementsinrelationtothenarrationhistory.Fannycontinuesher reading ofthesepassages,however,providesimportantcluesforunderstandingthevexed in responsetoFanny’sremarksabouttheshrubbery.Iwouldsuggestthatanattentive more likeMaryCrawford,who,“untouchedandinattentive,hadnothingtosay”(p.143) However, thisparticularnarrativeofimprovementactuallyresonateslittlewithmodern Christopher Kenthasmadetheimportantobservation that theFrenchRevolution Mansfield Park – who,inthisassomanyotheraspectsofthenovel,factthink 21 Here MaryCrawfordreachesbackbeforetheFrench [which]issometimessoretentive,serviceable, . . . history carries withitasitsunderside 22 The result ...I am LAFC01 7/23/046:12PMPage59 improve theconditionsofhisslaves.” the master;inclininghimpowerfullyforhisownsake,topromotehappiness,and abolitionists hopedtoencourageideasandpracticesthatwould“operateinthemindof living andworkingconditionsthemoralcharacteroftheirslaves.Hearguedthat of WestIndianplanterswhoclaimedthattheirchiefinterestwasimprovingboththe sacrifices” inorderto: the economiccircumstancesofpost-abolitionplanterswhowouldhavetomake“great all-powerful prospectoffreedom”(p.53),theBritishgovernmentneededtounderstand improve themoralconductofhisslaves,andrendertheirlotmorecheerful,by ultimately ofBritishpoweritself.Inordertoencouragethebenevolentmasterwho“would condition isseenaspartofamoregeneralimprovementthesugarestates,andthus year as for EstablishingaRegistryofSlavesintheBritishColonies gious understanding,andlevelofcivilization.Forexample,inJamesStephen’s Indian estatebecomesinseparablefromthe“improvement”ofslaves’conditions,reli- than separatesland-basedandsubject-baseddiscourses:theimprovementofWest some ofwhichAustenundoubtedlyknewandread,“improvement”alsojoinsrather the Caribbean. taking placesimultaneouslyinthepamphletliteratureonabolitionandemancipation even morecomplicatedandresonantwhenwefactorinthedebateoverimprovement that stiflesandsuppressesFanny’screativityimagination.Thisambiguitybecomes system thatproducesthelikesofMrsNorris,aheavy-handed,patriarchalgentrysociety and socialcustom,carrieswithitasitsshadowthepreservationofaeconomic hand, Fanny’semphasisoncommunal the creationofegotistical,materialistmodernsubject,MaryCrawford;onother return fromAntigua,dealingwiththe“recentlosses” (p.19)ofhisWestIndian ductive capacity.Itis,weshouldremindourselves,atthemoment ofSirThomasBertram’s and todosointhenameofabenignformsocialregulation, especiallyoffemalerepro- ment oftheestatetomoralandmaterialimprovement ofitssubservientpopulation, I citeitasasignthat it wasreplacedforfiveyearsbythequasi-bondageof“apprenticeship”). Here,however, pensation ofWestIndianplantersin1833whenslavery was finallyabolished(although Just asin It wasthiskindofabolitionistthinkingthatled,ultimately, tothelarge-scalecom- even thepresentcapacitytomakethem.(p.40) how fewplanters,comparatively,areincircumstancestoaffordsuchimprovements,orhave of infantsandinvalids eral andexpensivesustenation[sic]oftheslavesingeneral,[and]amorechargeablecare tion oflabour,especiallyamongthefemales,isessentialtothatchange:soareamorelib- keep uporenlargeadeclininggang[ofslaves]bymeansofnativeincrease.Agreatdiminu- Mansfield Park Mansfield Park Mansfield Park Itwasnotknownorconsidered[beforeabolitionoftheslavetrade], . . . , thisleadingabolitionistwritersoughttoco-opttheposition , inbothabolitionistandpro-slaverypamphletsbooks, was hardlytheonlytextin1814tolinkimprove- 23 memory This “melioration”orimprovementoftheslaves’ , estateimprovementsinaccordwithnature , publishedin1814,thesame Reasons 59 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage60 60 Chapter 1 Tim Watson insistently ofimprovementbutchangedlittleornothingontheground. such astheonepassedbyAntiguaandotherLeewardIslandsin1798,whichspoke dominated Caribbeanlocalassembliesinthelateeighteenthandearlynineteenthcenturies, a conclusion,forexample,seemsperfectlyjustifiedtheslavecodespassedbyplanter- cover ofhumanitarianinterestintheslaves’bodies,minds,andlaborconditions.Such maintaining thestatusquo,forprolongingbrutalityofslaverybyahypocritical common sense–“improvement”comestolooklikeaperverseandironicstrategyfor ing instrumentsorauthors”(p.37). hoped for“anemancipation,ofwhichnottheslaves,butmasters,shouldbewill- over herowndestiny,andyetleadstoakindoffreedomallthesame,justasStephen passivity stemsfromthechallengeofanovelwhichdeniestoitsprotagonistauthority unnecessary extractionoflaborfromFanny.Readers’frustrationwithFanny’sapparent of MrsNorris’sparsimony(notallowingFannyafireinherroom,forexample)and of theslavesingeneral”closelyechonovel’s,andSirThomas’s,escalatingcritique labour, especiallyamongthefemales when backinNorthamptonshire,especiallyregardtoFanny:“agreatdiminutionof gradual transitiontofreedomareallnecessarychangesinSirThomas’sestatemanagement Park. Thecostly“improvements”thatStephenoutlinesforWestIndianestatesinthe slaves (p.37),isalsoanaptdescriptionofthechangeFannygoesthroughatMansfield opinions andmanners,”asStephensummarizestheabolitionists’goalforWestIndian in theearlynineteenthcentury.Nevertheless,a“benign,thoughinsensiblerevolution logies betweenWestIndianchattelslaveryandthepositionoflower-classwomeninEngland one ofyourfather’sslaves.” wife, Fannyflees,pursuedbyEdmund,towhomshedeclares,“I’llnotbesoldofflike bridling atSirThomas’spost-Antiguaofferofaballtoshowcasehervalueaspotential and beauty,soquicklymovestosellheroffinthegentry’smarriagemarket. estates afterabolition,thathecommentssofavorablyonFanny’simprovementinhealth diffuse anddisplacedforms,in tussle oversubjecthood,enslavement,andimprovementplayed out,albeitsometimesin of theautonomousliberalsubjectwhomimprovement is alwayspossible.Instead,the in proslaverydiscourseaboutimprovementbecausefactweneedtomaintainthefiction and inaparticularcontestoveritsmeaningvalue.Wearetemptedtoseeonlyhypocrisy and sociallives,blockingourviewofitshistoricalemergenceataparticularmoment, to whichtheideaofimprovementhasbecomepartstructureourownpsyches torical hindsightmayalsobeakindofblindness–hinderingusfromseeingtheextent clearly thewaysinwhichlanguageofhumanitarianism, education,andtheimprovable the structuresofpowerthatproduceandconstrain subject. theautonomoussubject,and narratives andideasofhumandevelopment/improvement, assumptions aboutthesesamequestions,toundosomeof thecommonsensethatlinks In retrospect,therefore–lookingbackfromtheperiodwhenemancipationbecame In Rozema’sfilm,thisanalogybetweenFannyandSirThomas’sslavesismadeexplicit: Not, ofcourse,inordertoendorseproslaveryarguments,but inordertounderstandmore 24 We shouldbewary,ofcourse,makingtooquickana- Mansfield Park [and]amoreliberalandexpansivesustenation . . . , allowsustorethinksomeofourown 25 However, his- LAFC01 7/23/046:12PMPage61 but theproblemofhowwemightrecoveralternative narratives tothenarrativeof the problemofslavery,ornovel’sundecidable attitudetowardslavery, abolitionist movement: makes thislinkstrikinglyclear.Intheprefacetohisbook,hestatesgoalof called “emancipation.”JamesRamsay,inoneofthemostfamousearlyabolitionisttracts, emerging intheearlynineteenthcentury,newformsthatcomeaftermoment subject areinfactthepreconditionsfornewformsofsuppressionandexploitation emergence ofsuchasubject.” The legitimacyofanygivenhistoricalutteranceisproportionaltoitscoherencewiththe ideal ofthedisciplineitself[i.e.,history]–disinterestedsubjectmoderncivilsociety. moreover, anideaofthehumansubjectwhichisproductthatnarrativeand the momentof “dominant historicalconceptionofhumandevelopment,”whichwehavetracedbackto (p. 43).InhisessayontheaftermathofIrishfamine,DavidLloydarguesthat memory ofwhatMaryCrawfordcalls“thesturdyindependenceyourcountrycustoms” plexities ofourunderstandinghistory–andtodosowithoutunduereverenceforthe nostalgia thatimagines“JaneAusten”asasignforcozy,stableruralsociety. tory asprogressorimprovement,withoutsuccumbingtothelureofanti-historical Mrs Norris).Thenovelallowsthereadertore-examinesomeofpresumptionshis- the commercializationofagricultureinearlynineteenthcentury(SirThomas, as italsocallsintoquestionthevaluesofaruralEnglandthatwaspassingawayin matrix, isthatitresiststhelureofimproved,liberalsubject(MaryCrawford)even but whatalsoallowsittobecomethemostimportantAustentextincurrentcritical What issotroubling,therefore,about “living on,”inLloyd’sterms. nevertheless providesevidenceofwayssurvivingoppression andtyranny,waysof ular memory,whileinextricablyoverlaidandtiedupwith officialhistoricalnarratives, “the disinterestedsubjectofmoderncivilsociety.”Lloyd’s essayalsoshowshowpop- notoriously declinestodo)isthe tion” appearatthebeginningofnarrative–thatrejecting slavery(asAusten’snovel tory inwhichthetriumphofimprovablebourgeoissubjectrequiresthat“emancipa- ambiguous lineamentsoftheapparentlycommonsensical,progressivenarrativehis- Mansfield Park and thestate. from parliament,orpeople;butleavetobecomemoreusefulthemselves,theirmasters, their advancementinsociety.Andwhatishereclaimedforthem?Notbounties,orgifts ment ishereproposed,toilfortheBritishstate.Thepublic,therefore,hasaninterestin with usmadecapableoflookingforwardtoandenjoyingfuturity for advancingthemselvesineveryartandscience,thatcandistinguishmanfromman,equally To gaintosociety,reasonandreligion,halfamillionofourkind,equallywithusadapted Mansfield Park 26 , inotherwords,allowsustoseesomeofthecomplicitiesandcom- 27 and thedebatesoverimprovementemancipation,“bears, 28 So re-readingthenovelallowsustoglimpsemultiple, The problemof sine quanon Mansfield Park Mansfield Park of modernityandtheemergence in thepost-emancipationmoment, Thepeople,whoseimprove- . . . therefore isnotmerely 61 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage62 62 Chapter 1 Tim Watson an interview,“Iactuallybelievethatthis[ dwell ondetailsoffurnishing,dress,anddecoration. Price. Onceinside,thecameraresistsalmostentirely impulseofcostumedramasto at night,itbulksdarkandforebodinginthedistance,dwarfing itsnewinhabitant,Fanny heritage industryofwhichthefilmisostensiblyacritique.) Inthefirstshotofhouse credits bothEnglishHeritageandtheNationalTrust,prime institutionalmoversinthe the conditionsofproductionfilmwouldnotethat film’sproducersthankinthe even agrandhousecomesacrosstotheviewer.(Nevertheless,materialistreadingof of MansfieldPark,andinitsinteriorshotsmakessurethatsomethebleakness to bothhistoryandmemorywithoutreconstitutingthe“disinterestedsubject.” Park this chapter,Isuggestsomewaysinwhichananalysisofthefilmversion “tyrannic,” and“beyondcontroul,”asshedescribesit(p.144).Inthefinalsectionof selves inthewildsofFanny’sunkemptmemoryshrubbery,“bewildered,”“weak,” liberal, humanitarianemancipation–differentwaysof“livingon”withoutlosingour- mansions. preciousness withcarefulattentiontotheplaceofservants’laborinmaintainingsuch Ang LeeandEmmaThompson’s country house,agenredrawnonbyallotherAustenadaptations,eventhose,suchas is theslavesinAntigua:“Weallliveoffprofits,Fanny,evenyou.” The answer,madeexplicitinthefilmanappropriatelypreachymomentfromEdmund, of thefilm,shebeganherscreenplaybyaskingquestion,“Who’spayingforparty?” country-house costumedrama:asRozemaputitinthecommentaryforDVDversion and militaryleaders,issanctionedinRozema’sfilmitsrethinkingofthetraditional stripes torecoverandrepresenttheexperienceof“thepeople,”ratherthantheirpolitical the mainthrustofcontemporaryhistoriography.Theprojectsocialhistoriansall little ofAusten’sdialogueornarrativelanguage,forexample),themoviefollowsclosely in manyways:whileitisflagrantlyunfaithfultoitsfictionalpredecessor(incorporating Patricia Rozema’sfilm and theviewer,inwhichcorridorsbarewallsareswept throughinanunsettling of thehousebyMrsNorrisinwhichroomsarepointed outbutdeniedtobothFanny Antigua andallthelovelypeopletherepayingforthisparty.” from hishorse,andinresponsetoEdmund’squestion“WhatofAntigua?”replies:“Ah, son, Tom,returnsearly,anddrunk,fromhisSirThomas’striptoAntigua,hefalls property, women,blacks,andthepoorespecially.” on servitudeandslavery Mansfield Park might leadtoanunderstandingof“reparations”asaformlivingon–attentive 33 Rozema’s filmusesaruinedmanorhouse(KirbyHall)fortheexteriorshots positions itselfinexplicitoppositiontothenostalgiccultofEnglish Mansfield Park Shewaskindofexploringwhatitistotreathumansas . . . Sense andSensibility Reparations acknowledges adebttorecentrevisionisthistory Mansfield Park 32 34 (1995), thatseektotempersuch Fanny isgivenawhirlwindtour ] washer[Austen’s]meditation 31 As thedirectorputitin 30 When theelder Mansfield 29 LAFC01 7/23/046:12PMPage63 tions; wearealsosteepedinadiscourseofitsinsignificance.” ourselves tobesaturatedbyhistory,wefeeltheextraordinaryforceofitsdetermina- ness” penetratingandevendestroyingtheinnermostrecessesofpsyche:“Weknow other hand,weexperiencethefullweightofhistoryasforce,“immeasurableheavi- arbitrary andplayful,writtenfromthepointofviewparticularinterests,while,on on theonehand,wehavebecomeaccustomedtoideaofhistoricalnarrativesas of historythatpoliticaltheoristWendyBrowndescribesinherbook respect, Tomuncannilyrepresentstheparadoxicalcontemporaryrelationtoidea lapsing intoseriousillnessasabodilysignofthepsychictraumahehasendured.Inthis Fanny andtheviewerwiththeirfrankdepictionofviolenceslavesocieties, tionist sympathies,producingthesketchesofWestIndianplantationlifethatsoshock weight, caughtinanintolerablepositionbetweenhisfilialdutyasheirandaboli- dismisses onFanny’shousetouras“verymodern,”andTomafigureofemotional orders, producingthejaggedbutirreverentself-portraitonlandingthatMrsNorris Tom asafigureofplayfulfun,fallingdowndrunkandpettishlyrejectinghisfather’s the film’sfocalpointforrepresentingthisdilemma.Thefilmoscillatesbetweentreating the past.Tom,elderson,withabolitionistsympathiesandadrinkingproblem,becomes societies ontheprofitsofslavery,andthendenyingfactinhistoricalnarratives the historicalandhistoriographicalerrorsofpast:buildingBritishAmerican a preconditionforthemakingofmovieinfirstplace,asitseekstorepairboth theme inthefilm(whichendswithashotofwestwingunderreconstruction)and dice forlongenough.” Mrs Norrisexplains,“soontoberepaired,ifTomcouldsetasidehishorsesandthe window toasectionofthebuildinginvisibledisrepair:“Oh,that’swestwing,” way, andinwhichoneofthefewmomentsrestisprovidedbyaviewthrough “pursue someexcitingnewopportunitiesintobacco.” film –andthatSirThomashasgivenuphisbusiness inAntiguaonlyorderto “hourly evil”–arareexampleofAusten’soriginaltextappearing unalteredinRozema’s content ofFanny’sfinalvoice-overemphasizesthefactthat MrsNorrishasbecomean Sir ThomasandTomthatimmediatelyprecedesthisfinal sequence.Theactualverbal angles, and,ontheotherhand,touchingfather–son reconciliationscenebetween even sprightlyvoice-over,withtheswoopingpleasuresofhelicopter-bornecamera There isanespeciallyseveredisjunctionbetween,ontheonehand,thislight-hearted, cheeky voice-over:“Itcouldhaveturnedoutdifferently,Isuppos in whichthecamerafliesjauntilyasitwrapsupstoriesofeachcharacterwithFanny’s ficance andarbitrarinessofhistoryhistoricalnarrative,especiallyinitsclosingsequence Austen asarefugefrompolitics,while,ontheotherhand,filmregistersinsigni- of history,forcefullydisruptinganddenyingthecozyimageelegant,prettifiedJane it appearsinescapable–“butdidn’t”andthedamage doneirreparable. trivialized –“itcouldallhaveturnedoutdifferently,Isuppose” –atthesametimeas This problemofrepair,fixingtheproblemspastinpresent,isbotha Thus, ontheonehand,Rozema’sfilmversionof 35 Mansfield Park 38 History ismadelightofandeven 36 e... marks theheaviness u tdd’ .” . . but itdidn’t States ofInjury 37 : 63 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage64 64 Chapter 1 Tim Watson US corporationsthatcanbeshowntohaveprofitedfromslaverybefore1865. reparations forslaveryinamajorlawsuittobefiledagainstthefederalgovernmentand companies explicitlyformthebasisformovementinUnitedStatestoclaim film andraisethespecterofslaveryreparations.ThelegalclaimsagainstUStobacco them inthelate1990sturnthemeofrepairbackagainstitsapparentobject over, themassivedamagesawardedagainsttobaccocompaniesinlawsuitsbrought contemporary equivalentof“slave-holders”inBritishandAmericanculture,more- of theclosingscenealsoundercutsostensiblemessage:tobaccocompaniesare earlier inthemovieappearedunaccountablyblackface.However,ironiccomedy the Englishabolitionist-businessman(inhissketches,andnowinaccountbooks),who Antiguan slavesthemselvesmustremainoffstage,contenttoberepresentedbyTom, white fatherandsonasanevasion,ratherthanaresolution,oftheslaverytheme: doubtless partlycorrect,toreadthisclosingimageofrepairandhealingbetweenthe ing the(stillratherforlorn-looking)westwingofMansfieldPark.Itwouldbeeasy,and working onthebooksofnewtobaccobusiness,directlyunderneathworkersrepair- and HarveyWeinstein’sMiramaxcompany. joint British(state)andUS(corporate)funders,theBBC,ArtsCouncilofEngland, rather thanWestIndian,crop–andthustheimaginedafterlifeoffilmmimicsits the realitiesofUSconsumption,sincetobaccowaspredominantlyamainlandAmerican, film, infacttiesthestereotypical“Englishness”ofJaneAustenphenomenonfirmlyto tobacco, anotherslave-growncrop.Thelattermoment,althoughplayedforlaughsinthe reconciliation ismadepossiblebytheirpartnershipinthenewbusinessventure ever, immediatelyundercutbythefilm’scomicresolution,inwhichSirThomasandTom’s still invisibleoffstage. wounds, eveniftheAntiguanslavesthemselveswhocontinuetopayforpartyare historical weight,andasuggestionoftheneedtohealrepairemotional the cameratakesoffonitsfinalspintowrapthingsup–amomentofseriousnessand closure. “I’msorry,Tom,I’msosorry,”arethelastwordsofdialogueinfilmbefore apology sceneatthelastminutebecausequestionofslaveryhadbeenleftwithout acknowledges inheraudiocommentaryfortheDVD,whereshesaysthatadded the film,isexplicitlydesignedasaresolutiontoslaverysubplotinRozema appears tobedying,whichcomesimmediatelybeforetheplayfulclosingsequencesof apology fortheAfricanslavetrade. minister TonyBlair’sapologyfortheIrishfamine,and PresidentBillClinton’shalf- such asQueenElizabethII’sapologytoNewZealand’sMaori population,Britishprime wave ofpublicapologiesofferedbystateactorsforhistorical wrongsthroughoutthe1990s, War IIslavelaborersagainstGermancorporationsinthe late1990s,andpartlybythe court byblackfarmersagainsttheUSDepartmentofAgriculture andbyJewishWorld prompted partlybythesuccessofthesetobaccolawsuits andthelargedamageswonin Tom’s recoveryfromhisillnessisindicatedbypositionintheclosingtableaux, The slave-holderSirThomas’sheartfeltapologytotheabolitionistTom,aslatter The caseforslaveryreparationshasbeengatheringstrength inthepastfewyears, 39 This gesturetothe“immeasurableheaviness”ofhistoryis,how- 41 In theUnitedStates,debatewassparkedby 40 LAFC01 7/23/046:12PMPage65 in September2001. ism attheUnitedNationsWorldConferenceAgainstRacisminDurban,SouthAfrica, discussions oftheneedforWesternapologiesandreparationsslaverycolonial- and haspotentiallyglobalconsequences,aswasamplydemonstratedbythetortuous replaced anearliertextthatspecificallyendorsed“reparations”themselves. or expressingremorsepresentingapologies”forslavery,aformofwordsthat lawsuits –andsimply“noted”that“someStateshavetakentheinitiativeofregretting against humanity”andwasdesignedtoprotectEuropeanUSinterestsfromfuture have beenso”–aformofwordsthatavoidedthemoresweeping“slaverywascrime that “slaveryandtheslavetradearecrimesagainsthumanityshouldalways line orsuppressthecallforreparations,inacompromisefinaldeclarationthatstated ment atfacevalue.It,history, some “fidelity”toits“original.”However,Isuggestthatwemightalsotakethisstate- ferently, Isuppose”atfirstsuggesttheconstraintsofanyadaptation,compelledtoretain of thefilmandplayfulself-reflexivityFanny’s“itcouldallhaveturnedoutdif- The ironicinvocationof“freedom”intheflightcameraclosingsequence altogether, asIargueabove,alsosuggestsapossiblewayoutofBrown’sdoublebind. What AmericaOwestoBlacks the publicationin2000ofRandallRobinson’sbook-lengthcallforreparations, ently unredeemableinjury.Thispastcannotberedeemed practice whichreiteratestheexistenceofanidentitywhosepresentpastisoneinsist- “improvement.” Thequestforreparationsrisksbecoming,inWendyBrown’sterms,“a themselves ashistoricalvictims,woundedsubjectsdeniedeventheliberalpromiseof structures itappearstocontest,leavingitsbeneficiariesforeverattachedanimageof historical imperative. and Rozema’sfilmcanbeinterpretedasapartialresponsetothisnewcultural become, orwillsoonthenewcommonsenseaboutslavery,race,andhistory, seems clearthatreparationsinsomeformwilleventuallybepaid;have hurt.” as such,thusgivingupitseconomyofavengingandatthesametimeperpetuating be investedinit,anditcannotceasetowithoutgivingupitsidentity nor thefrozenvictimofreparations: a formofsubjectivitythatisneitherthe“disinterestedsubject” ofmoderncivilsociety contingency intheformofdesire,“I want” ratherthanthe“Iam,” rather thandeterminism. themselves andcontinuewiththeirlives,representstherefore amomentofpossibility the subjectsinclosingtableauxofRozema’s of reparationsthatdonotsimplyfixorfreezethesubject: themomentaryfreezingof history, andofthewayinwhichtheyarerecordedpasseddown.Thepossibilityemerges up toacertainfreedominitsreferenceherethearbitrarinessbothofevents The danger,however,isthatthesearchforreparationswillmerelyreconsolidate Wendy Brownsuggeststhepossibilityofamodelsubject formationthatrecognizes 45 But Rozema’sfilm,althoughononelevelitevadesthequestionofreparations 43 The temporaryresultoftheconferencewastoeffectivelyside- could . 42 But thecaseforreparationsisaglobalphenomenon, all haveturnedoutdifferently.Thefilmopensitself Mansfield Park unless the identityceasesto , beforetheyshake The Debt: 44 But it 65 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage66 66 Chapter 1 Tim Watson wisdom andsuggestnewdirectionsinthefutureforthinkingaboutpast. ography isnotalwayspartoftheproblem,butcandisruptconventionalhistoriographical another diversionary“costumedrama,”italsosuggeststhepossibilitythatfilmhistori- JCB wasfundedbyanAndrewW.Mellonpostdoctoralfellowship. to createaproductivespaceformuchoftheresearchandwritingthischapter.Mystayat the staffandfellowsatJohnCarterBrownLibraryinProvidence,RhodeIsland,whohelped early, naïvequeriesaboutfilmadaptationsandpointingmeintherightdirection.Thanksalsoto chapter. IamgratefultoPaulArthur,JanetCutler,andArtSimonforgenerouslyresponding Thanks toClaudiaJohnsonandRobertStamforhelpfulcommentsonanearlierversionofthis of Arc:“Theyshouldnothaveburnther[,]buttheydid”; the “simplistic”understandingofhistory.Wecanstillsay,withFanny/JaneAustenJoan its power,justasitdoeswhenwelamentthe“unfaithfulness”ofafilmadaptation,or equation. Andyetthe“simple”ethicalnarrativeisnottherebyobliterated–itstillexerts academic andmassmarket,filmnovel–alltheseareimpliedembracedinBrown’s of historicalcontingency,therecognitionmultiplesitesreconstruction, tions. Thecomplicationsofhistoricalproduction,themodernistorpostmodernistembrace it isadebtasyetunpaid.RandallRobinson,inhisbook spent onhistoricalcostumedramasfilm. of attentionpaidtothehistoryslaveryandslavetrademillionsdollars “AustenRollinginherGrave!,”June28,2001,anddharting,“MansfieldPark MeetsAlice 2 1 hannah12,“Janie’sDarkestTale?,”June3,2000(amazon.comcustomer reviews: 3 Perhaps Brown’sformulationmightbeproductivelyappliedtothedebateoverrepara- sovereign norconclusive,evenasitisaffirmedan“I.” processes constitutiveof,fulfilling,orfrustratingdesire,isinthiswayrevealedasneither subject understoodasaneffectof(ongoing)genealogydesire,includingthesocial “history” asthatwhichmakesthespeakingsubjectintelligibleandlocatable[?] history, andashavingnecessarymoralentailments,eventheyaffirm“position” that coulddestabilizetheformulationofidentityasfixedposition,entrenchmentby What if“wantingtobe”orhave”weretakenupasmodesofpoliticalspeech in Wonderland,”June28,2001(amazon.comcustomerreviews: Council ofEngland,1999). Mansfield Park Park, July 22,2001). accessed July22,2001). , dir.andscr.PatriciaRozema(MiramaxFilms/HALFilms/BBC Films/Arts Acknowledgments Notes 48 While clearly 46 47 The Debt Mansfield Park we canstillsay,ofslavery, Mansfield Park , comparesthelack qualifies as The . . . , accessed Mansfield LAFC01 7/23/046:12PMPage67 3Said, 13 Fannyasksheruncle,SirThomasBertram, abouttheslavetradeafterhisreturnfromAntigua, 12 ThomasClarkson, 11 0JohnWiltshire, 10 See,forexample,SusanneSeymour,StephenDaniels,andCharlesWatkins,“EstateEmpire: 9 See, forexample,ChristineBoltandSeymourDrescher(eds), 8 Said, 7 “ThisproductionhadnothingincommonwiththebookandmusthaveJaneAustenspinning 5 See,forexample,FraserEaston,“ThePoliticalEconomyof 6 ClaudiaL.Johnson,“RunMad,butDoNotFaint,” 4 1771–1819,” Sir GeorgeCornewall’sManagementofMoccas,HerefordshireandLaTaste,Grenada, and Chatto,1999). Abolition andEmancipation:WritingsintheBritishRomanticPeriod 1988). Foravaluablecollectionofsourcematerial,seePeterJ.KitsonandDebbieLee, See alsoRobinBlackburn, Essays inMemoryofRogerAnstey Princeton UniversityPress,2000),pp.25–44. Studies,” inDeidreLynch(ed.), Claudia L.Johnson,“TheDivineMissJane:JaneAusten,Janeites,andtheDisciplineofNovel of Pemberleycanbevisitedatwww.pemberley.com.On“Janeites”moregenerally,see English LiteraryStudiesinIndia “ reviews: in hergrave.”PatMartinson,“PureGarbage!,”December17,2000(amazon.comcustomer quotation onp.4. Rozema, quotationonp.16.SeealsoJohnson,“Introduction,”inPatricia 31, 1999),16–17, and theAtlanticWorkingClass,” body ofthechapter. Further referencestothenovelarethisedition,andwillbe givenparentheticallyinthe Text, Contexts,Criticism subsequent conversationwithhercousinEdmund.JaneAusten, but theconversationgoesnowhere:“Therewassuchadeadsilence!,” asFannyrecallsina and Orme,1808),vol.1,p.259. of theAfricanSlave-TradebyBritishParliament p. 135. Postcolonial JaneAusten You-meParkandRajeswariSunderRajan(eds), University Press,1993),pp.65–89; from MaryWollstonecrafttoJamaicaKincaid:EastCaribbeanConnections “ in Eighteenth-centuryContexts MaajaA.Stewart, 13–14; and theChronologyof BrianSoutham,“TheSilenceoftheBertrams:Slavery (New York:Knopf,1993),pp.80–97; Mansfield Park Mansfield Park Culture andImperialism Culture andImperialism Mansfield Park Mansfield Park:FinalShootingScript Journal ofHistoricalGeography : PlantocraticParadigms,”inMoiraFerguson, Recreating JaneAusten in MirandaHouse,”RajeswariSunderRajan(ed.), The HistoryoftheRise,Progress,andAccomplishmentAbolition Mansfield Park , accessedJuly22,2001). (London: Routledge,2000);EdwardW.Said, , ed.ClaudiaL.Johnson(1814;NewYork:Norton,1998),p. 136. The OverthrowofColonialSlavery,1776–1848 Domestic RealitiesandImperialFictions:JaneAusten’sNovels , pp.94–5. , p.96. (Delhi: Oxford University Press, 1992), pp. 92–9. TheRepublic (Delhi: OxfordUniversityPress,1992),pp.92–9. (Athens: UniversityofGeorgiaPress,1993);RuthVanita, Janeites: Austen’sDisciplesandDevotees Textual Practice (London: WmDawson;Hamden,CT:ArchonBooks,1980). ,” Times LiterarySupplement (Cambridge: CambridgeUniversityPress,2001), 24: 3(1998),313–51. (New York:TalkMiramax,2000),pp.1–10, 12: 3 (1998), 459–88; MoiraFerguson, 12: 3(1998),459–88; , 2vols(London:Longman,Hurst,Rees, Times LiterarySupplement Anti-slavery, Religion,andReform: Colonialism andGenderRelations Mansfield Park:Authoritative Mansfield Park , 9vols(London:Pickering Culture andImperialism (February 17,1995), The LieoftheLand: (New York:Columbia (London: Verso, (Princeton, NJ: : FannyPrice (December Slavery, The 67 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage68 68 Chapter 1 Tim Watson 3[JamesStephen,]“ReasonsforEstablishingaRegistryofSlavesintheBritishColonies,” 23 SeealsoEaston,“ThePoliticalEconomyof 22 ChristopherKent,“LearningHistorywith,andfrom,JaneAusten,”inJ.DavidGrey(ed.), 21 Recovery?,” DavidLloyd,“ColonialTrauma/Postcolonial 20 4Rozema, 24 MarkSalberPhillips, 19 jenn818,“JaneAustenDisrespected!,”April23,2001(amazon.comcustomerreviews: 14 9PatriciaRozema,“AudioCommentary,”on 29 223–28. Ibid.,pp.219–20, 28 Lloyd,“ColonialTrauma,”p.222. 27 25 AlistairM.Duckworth, 18 Trouillot, 17 Michel-RolphTrouillot, 16 RobertStam,“BeyondFidelity:TheDialogicsofAdaptation,”inJamesNaremore(ed.), 15 6JamesRamsay, 26 the BritishWestIndiancolonies.SeeFerguson, between Austen’snovelandthesimultaneouscampaigntoestablisharegistryofallslavesin given parentheticallyinthebodyofchapter.MoiraFergusonalsomakesaconnection published in1814,andreprintedthisjournaltwoyearslater.Furtherreferenceswillbe The Pamphleteer quotationonp.59. Press, 1989),pp.59–72, Jane Austen’sBeginnings:TheJuveniliaandLadySusan quotation onp.222. Chicago Press,2001),esp.ch.1,“PoliticalTheoriesoftheSelf,”pp.17–48. Jonathan Lamb, 1740–1820 Search ofaPast:TheRearinganEnglishGentleman,1933–1945 at thecenterofaparticularversionBritain’spast.See,for example,RonaldFraser, since the“heritageindustry,”inbothBritainandNorthAmerica, hasplacedthemanorhouse DVD version,2000.Thecritiqueofthe“greathouse”isnotnew, butithasgatheredsteam Country andtheCity (Baltimore, MD:TheJohnsHopkinsUniversityPress,1971);RaymondWilliams, Mansfield Park Sugar Colonies Meliorate theirCondition the ProtectionofSlaves;toPromoteandEncouragetheirIncrease,Generally An ActMoreEffectuallytoProvidefortheSupportandExtendCertainRegulations 1996), especiallyHaydenWhite,“TheModernistEvent,”pp.17–38. Persistence ofHistory:Cinema,Television,andtheModernEvent (Cambridge, MA:HarvardUniversityPress,1995);andVivianSobchack(ed.), Robert A.Rosenstone, Film andtheConstructionofaNewPast SeealsoRobertA.Rosenstone(ed.), Beacon Press,1995),pp.19–30. pp. 54,55. Adaptation Mansfield Park:FinalShootingScript Silencing thePast (New Brunswick, NJ: Rutgers University Press, 2000), pp. 54–76, quotationson (New Brunswick,NJ:RutgersUniversityPress,2000),pp.54–76, (Princeton, NJ:PrincetonUniversityPress,2000),pp.342–3.Seealso , accessedJuly22,2001). (London: JamesPhillips,1784),p.v. An EssayontheTreatmentandConversionofAfricanSlavesinBritish Preserving theSelfinSouthSeas,1680–1840 7 (1816), 33–85, quotationonp.37.Stephen’spamphletwasoriginally 7 (1816),33–85, (New York:OxfordUniversityPress,1973). Visions ofthePast:TheChallengeFilmtoourIdeaHistory Society andSentiment:GenresofHistoricalWritinginBritain, The ImprovementoftheEstate:AStudyJaneAusten’sNovels Silencing thePast:PowerandProductionofHistory (St John’s,Antigua:JohnHardcastle,1799). , p.22. (Princeton, NJ:PrincetonUniversityPress,1995); Mansfield Park Mansfield Park , p.63. Colonialism andGenderRelations (Ann Arbor:UniversityofMichigan Interventions , dir.andscr.PatriciaRozema, ,” p.473. (New York:Routledge, (Chicago: Universityof (New York:Atheneum, 2: 2(2000),212–28, Revisioning History: , p.67. (Boston: Film The The In LAFC01 7/23/046:12PMPage69 1Onthisspateofhistoricalapologies,seeMichel-RolphTrouillot,“AbortiveRituals: Historical 41 3See,forexample,DennisBrutusandBenCashdan,“ReflectionsonDurban,” 43 RandallRobinson, 42 8Rozema, 38 Edmund’slineisquotedfromtheDVDversionoffilm.Thetextpublishedscreen- 30 7Rozema, 37 WendyBrown, 36 Rozema, 35 AsClaudiaJohnsonnotes, “Austen’snovelsareindifferenttothiskindofspecificity,” 34 33 RandallKing,“NewAustenFilmNoPlainJane,”November29,1999,JAMMoviesDatabase 32 Ibid.,p.45. 31 9Rozema, 39 0WillieE.Garyetal.,“Making theCaseforRacialReparations,” 40 6, 2001);ManningMarable,“AnIdeaWhoseTimeHasCome,” Them HardCash,” Apologies intheGlobalEra,” 37–51. et al., September 11,2001(www.thenation.com,accessed 24,2001);SergeChalons 1984); Williams, The RemainsoftheDay The NationalPastinContemporaryBritain unrepaired gapsinthewestwingofMansfieldPark. final tableauxofcharacterstofocusonthesunlightstreaming(butsetting)throughstill completed film(althoughnotinthepublishedscreenplay)ascamerapansupabove slightly modifiedas“itcouldallhaveturnedoutdifferently,Isuppose,”isrepeatedinthe Rozema, Park isentirelydependentontheprofitsofthatoperation “Their miseryseemstorequiremorethanafewweightysighs,but the slaveswho“mustmisstheirfamilies,”asshesometimesdoesherself.Edmundreplies, is troubledbythe“inroads”abolitionistsaremakinginAntigua,Fannywondersabout play issomewhatdifferent,tendingtoemphasizeFanny’sabolitionistsympathies.WhileEdmund Mansfield Park the changeinSirThomas’sopinionofMrsNorris:“Hehadfeltherasanhourlyevil”(Austen, University Press,1995),p.71. Johnson, “RunMad,”p.16. Magnolia Films/SweetlandFilms,1997). “tourists” in Lee andThompson’sfilm.AnintriguingcomparisonwouldbetotheomnipresentJapanese of ally silentandalmostalwaysunnoticedbythefirst-timeviewer,appearineveryshot Bringing JaneAusten’sNoveltoFilm 1995). SeealsoEmmaThompson, Sense andSensibility accessedJuly22,2001). (www.canoe.ca/JamMoviesArtistsR/rozema_patricia.html, Sense andSensibility De l’esclavageauxréparations Mansfield Park:FinalShootingScript Mansfield Park:FinalShootingScript Mansfield Park:FinalShootingScript Mansfield Park:FinalShootingScript Mansfield Park:FinalShootingScript The SpanishPrisoner States ofInjury:PowerandFreedominLateModernity , p.319). The Debt:WhatAmericaOwestoBlacks The CountryandtheCity Guardian , dir.AngLee,scr.EmmaThompson(ColumbiaPictures/Mirage, , sometimesprovidingasubversivecounterpointtotheprettinessof (New York:Knopf,1989). , September3,2001(www.guardian.co.uk,accessed Interventions , DavidMamet,dir.andscr.(JeanDoumanianProductions/ (Paris: EditionsKarthala,2000);ChrisMcGreal,“Give The SenseandSensibilityScreenplayDiaries: (New York:NewmarketPress,1995).Servants,usu- (London: Verso,1985).SeealsoKazuoIshiguro, ; PatrickWright, 2: 2(2000),171–86. , p.24. , p.33(ellipsesinoriginal). , p.139. , pp.140,144.Austen’snarratordescribes , p.141(ellipsesinoriginal).Thephrase, (New York:Penguin/Plume,2000). It’snot,it’snot . . . On LivinginanOldCountry: atthesametimeMansfield . . . Newsweek Harper’s (Princeton, NJ:Princeton (November 2000), , August27,2001 The Nation clear.” . . . , 69 Chapter 1 Improvements and Reparations at Mansfield Park LAFC01 7/23/046:12PMPage70 70 Chapter 1 Tim Watson 5Brown, 45 7Rozema, 47 Ibid.,p.75. 46 Quotationstakenfrom 44 8Robinson, 48 accessed November26,2001). World ConferenceAgainstRacismSecretariat,issue6(October2001),p.4(www.unhchr.ch, (http://jamaica-gleaner.com, accessedOctober12,2001). Dudley Thompson,“ReparationIsaDemandforJustice,” Weekly (www.msnbc.com/news, accessedAugust26,2001);FaizaRady,“PlayingItCool,” , September13–19,2001(www.ahram.org.eg/weekly,accessed24,2001); States ofInjury Mansfield Park:FinalShootingScript The Debt , p.54. Durban 2001:UnitedAgainstRacism , p.73,emphasisinoriginal. , p.29. Jamaica Gleaner , theofficialnewsletterof , October9,2001 Al-Ahram