longbourne

  • Mr Darcy, probably: Do you know who I think is the ugliest girl in Longbourn? That Elizabeth Bennet. You know what I'd give her on a scale of one to ten, with one as the ugliest and ten as the prettiest? I'd give her an 8... 8.5... or a 9... but not... NOT over a 9.8. Because there is always room for improvement. Not everyone is perfect, like me. I'm holding out for a 10. Because I'm worth it.
Ti scriverei di come tu mi fai essere completamente me stessa e più vera di quel che pensavo si potesse mai essere.
Ti chiederei se ti manco come tu manchi a me, al punto che non c'è nessun altro posto al mondo che abbia senso, se non quello dove ci sei tu.
—  Jo Baker

hcconn  asked:

I can never bring myself to feel too badly for any of the characters in JA novels because I always think"Well, the servants had it worse." Are there any books about the servants in JA novels?

Definitely! Jo Baker’s Longbourn is a masterpiece re-imagining of Pride and Prejudice from the perspective of a housemaid. I adored it for many reasons, but chief among them was how it humanized Untouchable Favourite Elizabeth Bennet by actually portraying her as she would likely have appeared to someone from a lower class, someone who is struggling with much greater problems than “at some unspecified time in the future your father will die and your income will be severely reduced but you will, in fact, still have some form of income which you do not need to work for because you come from a class which lives off the interest of lump sum money already made and inherited.”

Elizabeth’s happy ending is muted and meaningless to the housemaid Sarah, who, we come to realize, is seen as just another part of the Longbourn household–but not of the family, and not as a person. She is akin to human-shaped furniture, to the Bennets. However ‘poor’ a genteel family might be, the Bennets have a comfortable home, servants, and enough income to while away their time as they choose–as even Lizzy admits to Lady Catherine “[t]hose who chose to be idle, certainly might.” Sarah’s story, and her bid to reclaim her own agency in her life, even if she is in service to a class which does not even care enough to attempt to understand or appreciate her, is striking and memorable.

3

Her astonishment at his coming - at his coming to Netherfield, to Longbourn, and voluntarily seeking her again, was almost equal to what she had known on first witnessing his altered behaviour in Derbyshire.

The colour which had been driven from her face, returned for half a minute with an additional glow, and a smile of delight added lustre to her eyes, as she thought for that space of time that his affection and wishes must still be unshaken. But she would not be secure.

“Let me first see how he behaves,” said she; “it will then be early enough for expectation.”

Mr Bingley’s Proposal to Jane

In Pride and Prejudice, the reader does not witness Mr Bingley’s proposal to Jane Bennet.

Consequently many fanfictions focus on it. These include:

‘Of Propositions and Eternal Happiness’ (2003) by Scarlet Rose

‘A Defining Visit’ (2005) by Rosa Cotton

‘A Proposal’ (2010) by Cactusin 

‘You and Me’ (2011) by razzle-dazzle1606

‘Jane’s Perfect Moment’ (2013) by JacquiT

‘Mr and Mrs Charles Bingley’ (2014) by JaneBingley

In Austen’s novel, Mr Bingley’s proposal is a private moment between him and Jane, enacted in the domestic setting of Longbourn’s drawing room.

The reader is Elizabeth’s companion, and returns with her to the drawing room to perceive a renewed intimacy between the pair:

“She [Elizabeth] perceived her sister [Jane] and Bingley standing together over the hearth, as if engaged in earnest conversation.” - Volume III, Chapter XIII

The placing of their engagement is fitting. It occurs in front of “the hearth”. The hearth is a symbol of love. Picture it bathing the scene in warmth and light.

Mr Bingley soon leaves the room to seek Mr Bennet’s permission to marry his eldest daughter; whilst Jane informs her favourite sister and the reader of her happiness:

“Tis too much! By far too much. I do not deserve it. Oh! why is not every body as happy?” - Jane Bennet. Volume III, Chapter XIII

Mr. Darcy drew his chair a little towards her, and said, “You cannot have a right to such very strong local attachment. You cannot have been always at Longbourn.”

Elizabeth looked surprised. The gentleman experienced some change of feeling; he drew back his chair, took a newspaper from the table, and, glancing over it, said, in a colder voice,

“Are you pleased with Kent?”

—  Jane Austen, Pride and Prejudice

anonymous asked:

I am now emotionally invested in the inheritance of Longbourne estate. I need to know whether it was Charlotte/ Jane / Elizabeth who had the boy to inherit the estate and how Mrs. Bennet reacted. I NEED TO KNOW BUT I CAN'T BECAUSE THIS IS FICTION AND THE AUTHOR HAS BEEN DEAD FOR 200 YEARS AND PROBABLY SHE NEVER EVEN THOUGHT THIS FAR AHEAD IN THE STORY WHILE SHE WAS ALIVE. SORRY ABOUT THE YELLING IT'S BECAUSE I NEED TO KNOW. ALSO YOUR BLOG IS GREAT AND VERY ENJOYABLE THANKS A LOT FOR YOUR POSTS!

THANK YOU ANON, YELLING IS GREAT!

My brain wants to keep it simple and just say Charlotte had a son first because now that Lizzy and Jane are married to rich dudes Mrs. Bennet and Kitty and Mary will be fine after Mr. Bennet dies and I want Charlotte to have something better than even her cosy parsonage and get away from Lady Catherine’s interference so to let her be mistress of Longbourn and near her own parents again in the years to come warms my heart.

  • Lizzie: I live in Longbourn. You live in Pemberley. Everyone in the world knows who you are, my mother has trouble remembering my name.
  • Darcy: I’m also just a boy, standing in front of a girl, asking her to love him.

Pride & Prejudice (& Pikk) - WIP AU

Relationship: Even Bech Næsheim/Isak Valtersen, Eva Kviig Mohn/Noora Amalie SætreNoora Amalie Sætre/William Magnusson

Rating: General

Summary: It is a truth universally acknowledged, that a fuckboy in possession of a large trust fund must be able to pull anyone he chooses.He did not know it yet, but the arrival of the mysterious Even Bech Næsheim and his family to the sparkling new condo across the street from the Longbourn Kollektivet had already turned this handsomely endowed new neighbor into the day’s most heatedly discussed topic among the group of roommates, to the point that dibs on him were already being called.

Or the gay Pride and Prejudice AU nobody asked for.

Tags:  Alternate Universe - Pride and Prejudice Fusion Noora/Lizzie, Eva/Charlotte Lucas, William/Darcy, Isak/Jane, Even/Charles Bingley, Eskild/Mrs Bennet, Sana/Mr Bennet, Vilde/Lydia, Niko/Wickham, Chris/Kitty, Linn/Mary

Read here on ao3

anonymous asked:

Hi! I love your blog! Would you mind sharing some of your favorit fanfics? I have nothing to read ☺️

hi! these are some of the excellent fics i’ve been reading lately:

Stranded with Mr Darcy: That awkward moment when you tell a guy he’s the last man in the world you’d ever be prevailed on to marry, and then you get stuck with him on a deserted island… This is Pride and Prejudice if it had happened in 1816 (which it didn’t) and if Mr Bingley had returned to Longbourn and asked Jane to marry him after Elizabeth’s stay in Kent. Mr Bingley marries Jane, and the two set off for a honeymoon, with Elizabeth for company. Except that the ship they take to get across the channel belongs to and is captained by Mr Darcy. And then the weather goes berserk, the ship is wrecked and everybody nearly dies. And the next thing they know, Elizabeth and Darcy are alone. On an island. With nobody but each other to depend on for survival. I don’t know about you, but I think it’s going to be awkward.

Mending His Pen: Ill-conceived letters and a misunderstanding send Elizabeth and Darcy on missions of virtue throughout Meryton.

The Time-Traveller’s Portion: Darcy always knew she was to be his wife. He simply had not known she was poor.

Lady Catherine Heading for the Hedgerows: Rosings is entailed and Lady C will be forced to the hedgerows if Anne dies without an heir. Anne conceives a plan using D&E to keep her estate in the family.

A Dishonorable Offer: Darcy was raised by his uncle to be charming, flirtatious and keep a mistress. However he wouldn’t let his uncle pick his next mistress for him. This time he’d find his own girl. Elizabeth was poor after her father’s death and barely respectable after Lydia married a thickly muscled blacksmith. But Elizabeth always believed she and Jane would marry for love…

Mr Darcy and Mr Collins’s Widow: Mr. Bennet died when Elizabeth was fifteen and she married Mr. Collins to protect Jane and her family. Now, years after he died, will unpleasant memories stop her from finding happiness with Mr. Darcy? One violent event described.

All Dogs Go To Heaven: Overworked business owner Fitzwilliam Darcy meets Liz the dog walker (and student) whose sass & eyes he finds both compelling & a breath of fresh air. She appears to have a busier schedule than he, & Fitz feels cheated by time & circumstance. He is ready for romance, but Liz seems hesitant.

The Unreformed Mr Darcy: What if Elizabeth Bennet had accepted Mr Darcy’s proposal in Kent? What if they married before he stopped being the proud, arrogant man she detested? What if, in order to avoid the ruin of her beloved sister, Elizabeth chose to swallow her pride and say yes to a pre-reform Darcy?Mr Bingley has left Netherfield, and in his stead a rich but unscrupulous man takes residence of the manor. While Elizabeth is in Kent, visiting her recently married friend Charlotte, she receives letters, which tell her how Jane is soon to be wed to a man Elizabeth can’t stand. And then, unbelievably, Mr Darcy, the last man in the world she would ever choose to marry, proposes to her. If she accepts, she could introduce Jane to all the eligible men in England, and rescue her from the clutches of despair. Even if the man offering, has just insulted her entire family and seems to assume that now that he has proposed, he must be accepted. Elizabeth longs to put him in his place, but thoughts of rescuing Jane make her do something that will change the course of her life forever…

Talk Any Louder: Transparency proves dangerous when Elizabeth and Mr. Darcy face life-changing consequences as a result of his defense of Lydia.

i also have a fic rec tag. 

anonymous asked:

I love Bridget Jones too! I'm curious as to why it's your favorite Pride & Prejudice adaption? And also why you think it's pretty much perfect? I'm always looking for bonuses to add to my list of reasons why it's so great P.S. I absolutely ADORE you and your blog

Thanks anon!

Honestly it grew out of a knee-jerk response to not wanting to be drawn into the petty 1995 vs. 2005 P&P Discourse that rages to this day, as well as general eye-rolling disgruntlement at the sheer number of P&P adaptations, compared to the rest of Austen’s body of work (or other classic literature…or just other stories, period.) It’s very, very easy for me to just get tired of Pride and Prejudice, because it’s everywhere, and it was most people’s gateway drug.

Now I’m a notably contrary person. Like, I have family nicknames based on how much I am apt to resist a Thing the moment I perceive that anyone wants me to engage with or enjoy a Thing. I have such a massive and almost instinctive mistrust of popular things that it’s probably just best not to outright recommend things to me, but rather just silently place them in my field of vision and back away slowly. Is this petty and stupid of me? Absolutely! But it’s how I roll.

So between this and the Discourse over the most recent big-budget adaptations of P&P, my favourite P&P was always going to have to be a little different. (Honourable mention to Bride and Prejudice in a very close second place.)

Bridget Jones’s Diary, as a film and as a book (I’ve only ever seen snippets of the newspaper articles it took as its initial form,) preserves so much of what’s brilliant about the character and story of Pride and Prejudice, and updates it in a way that is just endlessly fun and funny. A modern P&P that’s a straightforward rom-com is just a little too sickly-sweet. Where Bridget Jones and B&P get it super-right, for me, is that the sad-clown comedy hijinks are ramped up to an impressive degree of embarrassing pathetic-ness. The sheer amount of fucking-up that Bridget and her comrades accomplish is what makes it amazing. I don’t need a heroine whose life problems are a result of a simple miscommunication or cutely contrived circumstances. I need a heroine who leaps without looking, has a ridiculous mother who she loves anyway, and who pushes a confession of Feelings away with both hands because she’s surrounded by so much bullshit all day, every day and doesn’t exactly know what to do with something true, so she’s just not going to do anything with it.

What Bridget Jones’s Diary aces, and which other adaptations can oftentimes miss the mark on (at least until the third act epiphany to spur the final arc of mature character development,) is Elizabeth Bennet’s intrinsic vulnerability. She is flying by the seat of her elasticized pants. She is lippy and laughing because there’s a part of her that knows–a part of her she mostly succeeds in ignoring–that she’s got some deep problems in her life and how she relates to people. In transferring that sense of creeping hollowness at the edges of Elizabeth’s initial characterization (which, in a way, prompt some of her almost manic-seeming good-humour and wit–her courage always rising with every attempt to intimidate her–it is oftentimes used as a coping device,) to the struggles of an urban 90s 30-something single woman navigating the mindfuck that is the white heteropatriarchy still existing even while women’s lib tells us we can Be Anything We Want, the film and book really bring out more of the nuances of Elizabeth/Bridget’s reasonable anxieties about her place in the world.

With the placid-seeming lifestyle of the genteel countryside dwellings and young women living a life where they don’t have to work jobs and even have servants and attend balls and read books and play music all day, historical adaptations can, I feel, sometimes have this disconnect with our modern sensibilities (at least in Western culture where many women expect and are expected to work and earn a living for themselves.) When Eliza is flitting around Longbourn looking cute and laughing at Mr. Collins and how ridiculous Mrs. Bennet is being, it can be hard to really feel in our guts that Elizabeth or her sisters or any woman in a position like hers could really be worried about the future. They’re in another time and place and their lives are currently great and in the end she wins the love of a rich man, hooray.

But coming to it for the first time, in the time in which Austen was writing and publishing it, her audience–genteel women in particular–would have deeply felt the lurking menace of poverty and spinsterhood which was no laughing matter to those whose social position forced them into passivity–an acceptance of events over which they might have little control. If a young woman, no matter how charming, has not the means or connections to meet anyone beyond her own neighbourhood, and there is no-one around who is eligible and appropriate for her to marry…that’s it. She is never going anywhere, and hasn’t got any independence to speak of to look forward to.

That kind of existential dread hits us when we ponder our modern ideas of social dynamics and status markers, which Bridget confronts throughout the film and novel. Should I get a newer, better job? Why is this person I like being both lovely and horrible? Why do I even like them? Why is my family so impossibly embarrassing? How can I help my loved ones be better? Why is there so much crap wrong with me? Why can’t I stop making bad decisions? How do I know who I can trust with the weirdest and worst parts of who I am? How many chances should I give people who hurt me? Why did I give only one chance to that person and a thousand chances to this other person?

…anyway, this got a little darker than I was intending, but my point is that Bridget Jones’s Diary, as an adaptation of Pride and Prejudice, really nails some great basic points of character which don’t often get truly brought to the fore in more traditional adaptations because the trappings of an historical context which may feel more alien and benign to us can mute and soften the grubbier parts of a heroine and a story which are so very light, bright, and sparkling. But light is only light if there’s shadow for it to burn against.

Which is a very highfalutin way of saying I love how these fuckups fuck up.

Originally posted by m-o-v-i-e-land

para-dig-m  asked:

i know this is character talk time.... but I would really love to hear more about your thoughts on the joe wright p&p adaption.

I think Wright’s adaptation is a superb one.

Joe Wright is always so skilled as subtlety : with true insight, he manages to express on screen, and without words, what has been written about the soul of his characters. In Pride and Prejudice, it relies primarily on symmetry, glances, and gazes.

He is very faithful to the book, and particularly to the constant and delightful humour of Austen : each scene is filled with such mirth, I’m always laughing out loud when I watch it; the awkwardness, especially, is delightful. Darcy, his gait, his tenseness, and Elizabeth perplexity are a delight. 

To convey Austen’s elegant, controlled style, Joe Wright does a great job with cinematography and scenery : painting scenes, symmetric scenes, slow traveling of the camera on a picturesque yet very classical, very subdued detail. Pride and Prejudice is not baroque in the least : its simplicity, in the colours (dark green, dark blue, white, brown), in the costumes, in the repetitive and piano-filled soundtrack, echoes the tranquil and beautiful domesticity of the original story.

The characterisation is absolutely stellar and I think in that, Joe Wright really showed his respect and understanding of the book; as I said before, his Darcy is Austen Darcy : the stutter, the controlled yet passionate hand, the rare but sunny smiles, the awkward posture and early blindness to his surroundings, and then that new degree of softness and warmth when we come back to him at Pemberley; more than anything, the hidden vulnerability, the sudden pain and anger on his face when he is hurt, and the trembling eyelids when his gaze must absolutely escape Elizabeth’s.

The Bennett as well are great: Wright decided to make the Bennett parents a little closer than they are in the book, and M. Bennett a little more loving than he is in the book, and I think it’s a lovely addition; in any case, their constant giggling, occasional stupidity, the dynamics unfolding in the scenes where they are all in the parlour or at dinner is deeply satisfying: a whirlwind of laughter, smiles, conniving (and signification-filled) glances, true warmth and intimacy in their hand choreography (give me this, give me that, carried on so smoothly), their surroundings always found in the happy chaos of true living (contrasting with the cold, immobile Netherfield and Rosings).

Keira Knightley’s Elizabeth is a true delight; still full of innocence and impulse—her rapidity of expression and limpidity of gaze convey both her youth and her cleverness, her insolence and her warmth. She manages to express her thoughts without having to speak: in her rigid or supple gait, in the angle of her neck, lowering of her eyelids, in the very distinct movements of her mouth. Their is a magnetism between her and Macfadyen that is actually heart-seizing, isn’t there? From the start, Wright decides to show us how similar they are, how instinctively they are linked, and it works so well.

All the casting to me is satisfying, except for Bingley who I thought lacked in elegance and prince-like charm—but Kitty and Lydia’s mixture of impudence and gaiety, Wickham’s charisma and transparency (the cold elegance of a paper hero), Charlotte’s plain but reassuring persona, Collins’ hilarious and enraging pretentiousness, Miss Bingley’s rat-like pettiness, Jane’s peaceful, magnetic softness, and Georgiana youthful charm (although that is an invention —Georgiana is very Darcy herself in the book, awkward and shy and timid) are all perfect.

What Joe Wright has chosen to put aside from the book, I think, is a show of his talent as an adapter: he got rid only of what wasn’t mandatory to the story, letting himself linger on the faces of his protagonists, their interior turmoil palpable behind the mask of conventions. Mrs. Phillips, the Gardiner’s children, the whole London’s storyline, Mr. Bingley’s second sister, the dinners leading to Jane and Bingley’s engagement… these would have been empty additions to a well-paced, beautiful movie.

Where Joe Wright loses me a little, however, is when he tries to add drama to a very lovely yet very human-scaled story; of course the idea is justifiable. He’s appealing to a romantic audience, who might not be satisfied with only subdued and subtle signs of affection. But I do like Austen’s no-nonsense writing, and her credible (somewhat, although she’s not above easy, lucky coincidences) string of events. For example, Wright’s scene for the engagement of Elizabeth and Darcy is a bit wobbly: they both meet in a field, in the morning after Lady Catherine’s visit to Longbourn. How could Darcy have known so soon what Elizabeth had said? How can they be meeting here, in an unknown field, and know they would find each other? And above all, why is his shirt slightly open, and Elizabeth all the while wearing pyjamas? It’s the 1800′s, guys. Get dressed.

Wright sometimes overlooks the rules of propriety and modesty in Pride and Prejudice, again for the sake of drama. It’s not a problem and to the neophyte spectator, it’s certainly not memorable; but it did irk me at times. Darcy entering Elizabeth’s bedroom to give him the letter, although she is alone and again, in her nightdress; Lady Catherine forcing herself into the Bennett’s household at night; Darcy running after Elizabeth; Elizabeth and Darcy being again and again thrown alone in a room, although the book always has them chaperoned.

What is beautifully done, however, is the slow discovery of Elizabeth’s own mind; the intensity of the feelings. It’s subtle, you know, both in the book and in the movie: otherwise the audience and readers could think Elizabeth changed her mind when she saw Pemberley, for example. But no —her fascination for Darcy starts just a little earlier than her visit, and gnaws at her steadily; at first, she cannot explain it; when she can, she’s horrified that she has lost his esteem forever. Her silence when Jane asks her about Rosings (which a departure from the book: she confesses Darcy’s proposal to Jane there), her single tear at night when Jane talks of Darcy and Bingley; her sole, heart-breaking admission in front of the mirror: I have been so wrong. Silently, slowly, passion has been growing on her side as well.

All in all, I think it’s a true, faithful, respectful hymn to Jane Austen’s work, and what Wright had to bring to the table in his adaptation is generally very successful, very thoughtful, and delightfully carved. He did such a good job.

BUSINESS INFORMATION: Book-themed candles coming this June!

Hello, readers! I have some very exciting news regarding your favourite books; I’m making them into candles. This summer, as of around June 10th 2017, I’ll be launching my candle-making business on Etsy. When the website is fully functional, I’ll drop by with links. Because your feedback is so greatly appreciated, as well as your eagerness to see this project come to life, I’m going to be accepting ideas for candle themes in my inbox. Be sure to begin the message with CANDLE: “_____” to separate the writing requests from the candle requests. Feel free to include the book inspiring the scent, whatever you’d like it to smell like, and possible names. Here’s what you need to know so far:

  • Most of the candles offered will be inspired by books. More details of candle themes and ideas will be listed in the next bullet-point chunk. We will also offer historical candles based on monarchs, palaces, and time periods. Again, more information will be listed below.
  • The company is going to be run by one person, that person being me, until October 2017. That means that candle-making will be as fast as I alone can make it. After October of 2017, my business partners and best friends will be helping me make the candles.
  • The candles, so far, will remain universally white to disguise any scent-changing properties. A good few of the candles we’re thinking of making are going to have surprise scents that match in-book peril or changing events.
  • The money made from this company will be used to help us pay rent. We are all going to be running the company out of our apartment, so buying a candle will not only help you out by means of relaxation, but it will help us keep a roof over our heads!
  • The standard price of these book-themed candles will range somewhere between $10.00 - $12.00 for standard 8 oz. jars. Smaller tins will be available for a much lower price.
  • CUSTOM CANDLES ARE GOING TO BE AN OPTION. The price will be two dollars more for your custom candle, so keep that in mind when ordering! If I like the idea for your custom book-inspired candle, I may make it a regular on the website.
  • Shipping will be added to your final bill. I’m not sure yet of the restrictions I’ll have to enforce as far as shipping overseas, but I’m willing to try anything once.
  • Each candle will be hand-made by yours truly with soy wax, each scent hand-selected and hand-mixed. This is a project entirely of passion and acute detail. Each candle will smell just a little different than others of its kind due to the absence of heavy machinery in this process, but the scents will be as close to parallel as I can make them.

In case anyone is wondering about specific smells they might look forward to, here’s a list of what we’ve brainstormed so far. Enjoy, and let me know what you think of this slice of our selection!

BOOK CANDLES

  • Edward’s Meadow (Twilight inspired)
  • La Push (Twilight inspired)
  • Possible collections for Twilight: The Cullens (a collection of 4 oz candles inspired by each Cullen’s book scent) The Wolf Pack (a collection of 4 oz candles inspired by each member of the pack) and The Volturi (a collection of 4 oz candles inspired by prominent members of the guard)
  • Thornfield Hall (Jane Eyre inspired) - this will be a scent-changing candle with a surprise scent as the candle is running out!
  • Moscow (Anna Karenina inspired)
  • Petersburg (Anne Karenina inspired)
  • Longbourn (Pride and Prejudice inspired)
  • Pemberley (Pride and Prejudice inspired)
  • Netherfield Park (Pride and Prejudice inspired)
  • Possible collection for Pride and Prejudice: The Bennet Sisters (a collection of 4 oz candles inspired by each of the five sisters)
  • Baby Suggs’ Pie (Beloved inspired) - this one smells so good, I can’t even explain it to you.
  • SOMA (Brave New World inspired)
  • Birnam Wood (Macbeth inspired)
  • Fair Verona (Romeo and Juliet inspired)
  • House of Montague (Romeo and Juliet inspired) - a more “masculine” scent variation of Fair Verona, sold with House of Capulet as a wedding gift
  • House of Capulet (Romeo and Juliet inspired) - a more “feminine” scent variation of Fair Verona, sold with House of Montague as a wedding gift
  • Elsinore (Hamlet inspired)
  • All Hogwarts Houses as separate candles (Harry Potter inspired)
  • Darlington Orchard (Peaches inspired)
  • Victors Village (The Hunger Games inspired)
  • Green Light (The Great Gatsby inspired)
  • St. Swithin’s Day (One Day inspired)
  • Send The Bees Love (The Secret Life of Bees inspired)

HISTORICAL CANDLES

  • The Six Wives of Henry VIII as separate candles or discounted as a collection (Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard, Catherine Parr) - each wife of Henry VIII will have a specific scent that matches their personality traits.
  • Victoria and Albert (great candles for wedding gifts!)
  • Marie Antoinette
  • The House of Romanov
  • William Shakespeare
  • Queen Elizabeth I

Please be sure to message me if you’re interested in details! This, along with my normal job (which may end up being two jobs), and commissioned writing is helping me get through school and pay for an apartment once I graduate this time next year. Thank you all for supporting this idea!

To commission writing, see here.

To message me about candles, see here.

anonymous asked:

Do you have any books you might recommend. I love your blog btw ❤❤

Hello and thank you!💕✨
Now, I would like to say that I love reading, but sadly I don’t do it as much often as I would like, so please excuse me if my suggestions seem predictable to you.
“Rebecca" by Daphne du Maurier
“Wuthering Heights” by Emily Brontë
“Our Ancestors trilogy” by Italo Calvino
“Evgenij Onegin” by Alexander Pushkin
“White Nights” by Fyodor Dostoevskij
“Longbourn” by Jo Baker
“The Hound of The Baskervilles” by Conan Doyle
“Orlando Furioso” by Ludovico Ariosto curated by Italo Calvino
And two (well actually four) of my favourite ancient greek tragedies, since tumblr seems to love Ancient Greece very much:
“The Bacchae” by Euripides and “The Oresteia trilogy” by Aeschylus.

It’s Jane Austen’s birthday today! In her honor, why not dig into a re-telling of one of her classic novels?

  1. Longbourn by Jo Baker
  2. Jane and the Canterbury Tale by Stephanie Barron
  3. Pride and Prescience by Carrie Bebris
  4. Death Comes to Pemberley by P. D. James
  5. Pride and Prejudice and Zombies by Seth Grahame-Smith
  6. For Darkness Shows the Stars by Diana Peterfreund
  7. Mr. Darcy Takes a Wife by Linda Berdoll
  8. The Perfect Bride for Mr. Darcy by Mary Simonsen
  9. Sass and Serendipity by Jennifer Ziegler
  10. Prom and Prejudice by Elizabeth Eulberg
  11. Prada and Prejudice by Mandy Hubbard
  12. Emma adapted by Nancy Butler
  13. Sense and Sensibility adapted by Nancy Butler
  14. Pride and Prejudice adapted by Nancy Butler
  15. Northanger Abbey adapted by Nancy Butler
  16. Bridget Jones’ Diary by Helen Fielding
  17. Northanger Abbey by Val McDermid
  18. Sense and Sensibility by Joanna Trollope
  19. Lost in Austen
  20. Bride and Prejudice
  21. The Lizzie Bennet Diaries
  22. The Jane Austen Book Club by Karen Joy Fowler
  23. Austenland by Shannon Hale

afirewiel  asked:

What is your favorite non-Austen period novel? Movie?

Okay I’m gonna do a rundown of all my favourites because making me pick one is just mean. (Also at one point in my notes on the following books and films I just wrote “Bagels” and I can’t for the life of me think what I might have meant or autocorrected that from. Maybe a shopping list started to take form. I don’t know.)

(If the film Miss Austen Regrets and book Longbourn by Jo Baker count as non-Austen then include them.)

Films:

Lagaan: Once Upon a Time in India - 2001 (Sports! High stakes! Sticking it to the Colonial Man!)

Mozart’s Sister - 2010 (Beautiful music! Gorgeous androgyny! GIRLS CAST TO PLAY THEIR ACTUAL AGE AND NOT SOME 20-SOMETHING PRETENDING TO BE FOURTEEN!)

Possession - 2002 (I’ve tried the novel, and A.S. Byatt has some beautiful prose but her structures sometimes do my head in, so never finished it. Ignore Paltrow as best you can and enjoy lush Victorian Gothic mystery and the ending is one of the most poignant things I’ve ever been pleasantly surprised with on film, and it leaves you wondering about many, many things…)

Jodhaa Akbar - 2008 (You could put Hrithik Roshan and Aishwarya Rai in the worst commercial ever made and I would watch it. Costumes, scenery, and, as a friend once put it “I’m not sure how they did it, but they just had a sex scene without any sex.” Bravo.)

Water - 2005 (Deepa Mehta is such a fantastic filmmaker and I loved this whole trilogy but Water is my favourite.)

Elizabeth - 1998 & Elizabeth: The Golden Age - 2007 (The costumes! The caMERA ANGLES!!! The compli-fucking-cated mess that is Elizabeth I.)

[Okay Tumblr won’t let me embed any more trailers, but those ones are easy to find, they’re out there.]

Vatel - 2000 (Any foodie who is also a fan of The Sun King and his era will dig this one. A great score, baddie Tim Roth.)

Alternatively, in the same era: A Little Chaos - 2015. Storyline is a little weak, but it’s so beautiful and the cast is great and the M U S I C. Kate Winslet. Alan Rickman. Helen McCrory. STANLEY TUCCI.)

Also: they’re not films, but TV shows - honourable mentions to the Spanish series Gran Hotel. It’s like a good version of Downton Abbey, only sorta on crack and with a tonne more murder mysteries; and while I have some Issues with its so-called hero and some comparatively weirdo plot-points in S3, overall, it’s fantastic and I’m obssessed. Please don’t mix it up with the Italian re-make which looks horrible in every way. Like, main actors dressed in a poorly-sewn-table-cloth-bad.

And shout-out to the new CBC/Netflix series Anne. I will defend this show to the DEATH, alright? They’ve gone bolder and fresher and have managed to involve period realism in a moving way while retaining the sunshine-and-pinafores element that so many people love about L.M. Montgomery’s work. There’s heaps of women with production credits, and I think it shows. Geraldine James is already my favourite Marilla after one episode, and I feel like R.H. Thompson (HEY JASPER DALE HEEEEY!) and Amybeth McNulty are likely going to become my favourite Matthew and Anne, too. People have complained about this series going off-book and in particular some have condemned it sight-unseen because the writers/directors are putting a feminist spin on it and OH GOD THEY SAID FEMINIST QUICK WE GOTTA SET EVERYTHING ON FIRE BECAUSE CHILDHOOD IS RUINED, but honestly it’s just perky and gorgeous and scrappy and nobody can tell me to my face that Kevin Sullivan didn’t go all the fucking way off-book from the very beginning so I am not gonna sit here and insist that the Megan Fallows Anne of Green Gables was perfection which could never be improved upon because that’s just a plain lie. It was nice and it has its place but it’s time for some new blood. (And NOT the telefilms they’ve also come out with recently with Martin Sheen, bless his heart, but they took a brunette child actor and dumped an atrociously stark box of red hair-dye on her before drawing on her freckles and then telling her to please play everything theatrically to the back of the house even though there is a camera ten inches from her face.) I am HERE FOR ANNE. RIDE OR DIE.

AND NOW, FOR BOOKS!

After that you might assume my L.M. Montgomery recommendation would be Anne of Green Gables and sure I won’t say DON’T read them, but for my money the Emily of New Moon trilogy is more my jam and I wish to God and Netflix in all my prayers that there might someday be a decent adaptation of them.

I was really into Cassandra Clark’s Abbess of Meaux mystery series for a time, but then things went a bit pear-shaped in what I think was the fourth(?) book and everything was OOC and honestly I haven’t caught up on the later books after that and they seem to be self-published now but I am a sucker for nuns and mysteries so I’ll probably get back into it when I have time.

The Princess Priscilla’s Fortnight and The Solitary Summer by Elizabeth von Arnim. Vacation-reads! Beautiful prose, some wry wit, and fun hijinks. If you’ve ever wanted to run away and live in an isolated cottage in the wilderness for a little while, these are for you. [ETA: I recently got my hands on a copy of The Jasmine Farm so THANK YOU to one of you who recommended it I am loving it so far only I don’t see the appeal in Andrew so wtf Terry you can do better.]

Edward Rutherfurd’s geographical history novels–Sarum is the classic to start with, but the others I’ve read are very good, too. (London, New York, and I’m now working my way through a first-edition of Russka.)

Amy Levy. A M Y   L E V Y. Criminally under-recognized Jewish Victorian novelist and poet. Novellas Ruben Sachs and The Romance of a Shop. (RS a beautiful and bittersweet story about the conflicts between love, identity, and expectations, and some would say a response to George Eliot’s Daniel Deronda. TRoaS reading a bit like a less treacle-sweet variation on Little Women, where four sisters try to make their way in the world by setting up their own photography studio in late 19th century London.)

The Making of a Marchioness by Frances Hodgkin Burnett. Colonialist racism appears in this one, so be warned. Still the book is a THOUSAND times better than the utterly dreadful adaptation known as The Making of a Lady. Jane is better, Emily is better, Walderhurst is better, pretty much EVERYONE IS BETTER. The pacing is better. The plotting and suspense make actual sense.

The Scarlet Pimpernel by Baroness Orczy. A classic, and the grand-daddy of every secret-identity superhero.

The Forsyte Saga by John Galsworthy. Like, it makes me MAD how good these books are.

And last but not least, a non-fiction selection in Vere Hodgson’s WWII diaries: Few Eggs and No Oranges. Nothing else has ever brought the experience of living (or trying to) under the shadow of the bombs and the threat of invasion quite like these diaries. Fascinating details, engagingly written, and at times a stark reminder that the Allied victory we take for granted in our history could by no means be counted on by the millions who dwelt in daily uncertainty.