I just read JULIET, NAKED by Nick Hornby who, along with Zadie
Smith, is my idea of a contemporary Jane Austen. Both Hornby and Smith make profound observations of human nature, give us romance without sentimentality, have a divine sense of humor, and are simply masterful storytellers. In my
writing workshops I inevitably read passages from various Hornby novels and Smith's ON BEAUTY
as examples of the best in contemporary fiction.
For this reader, JULIET, NAKED brought to mind some of the online discussions that occur amongst Austen's most devoted readers. A central premise of the
book is that no matter how much the admirers of an artist's work examine
that work, study it, parse it for meaning, and become "experts,"
they can never acquire irrefutable proof
that the creator felt a certain way or had a
particular type of experience at the time she created it. Bottom line is it's nothing more than speculation. And speculation is often wrong.
In JULIET, NAKED, one of the characters, Duncan, spends a
good deal of his time on a web forum holding forth on the hidden meanings and
nuances in the songs of a rock singer-songwriter named Tucker Crowe, who
mysteriously dropped off the grid back in 1986, causing his small band of
devoted followers to speculate endlessly on why he left and what's been going on
in his life since his disappearance. And most of all, what was behind JULIET,
the album that Tucker was promoting when he dropped out of sight. Annie,
Duncan's girlfriend, puts up with Duncan's obsession, but when Duncan posts a
review of a newly released album of JULIET demos—an unadorned set of tracks
that the fans dub JULIET, NAKED, Annie decides she's had about enough of
Duncan's prosings about Tucker's genius. And so she posts her own review. And,
miraculously, she is rewarded with a correspondence from the real Tucker Crowe,
who periodically reads Duncan's forum and chuckles at the inaccurate conclusions therein.
I've often wondered what Jane Austen might say about
the assertions, online and otherwise, about what she did or did not mean when she wrote a
particular line or character because of what she did or did not experience or
feel. Because, after all, no matter how much we think we are experts on Austen, it is really all just speculation. No one but Austen can
know what she meant, felt, believed, or experienced at any given moment in time.
No one but Austen could tell us if a certain character espouses Austen's own beliefs. And it is never a given that an
author believes what her protagonist believes. Or that what happens in a novel
resembles what happened in the author's own life. Even Austen's letters—like
all letters--are just snapshots of the moment she wrote that letter, and thus
only indicate what she felt or believed at that given moment in time. We cannot even
take the words in those letters at face value, for the reader of much of them,
her sister and closest friend, Cassandra, would get the ironies and subtext and
in-jokes and tone in a way that we can only dream of—and speculate about.
One thing we can be sure of—and this is the greatest gift of
any great storyteller or songwriter: The words and music and characters and stories that
we love have deep meaning for us, based on our own personal experiences, beliefs, and aspirations. That is how we make these most beloved works our own. As Karen Joy
Fowler said very wisely in her novel, THE JANE AUSTEN BOOK CLUB, "Each of
us has a private Austen." Or in Nick Hornby's JULIET, NAKED, a
private Tucker Crowe.
Do read JULIET, NAKED—it's a beautiful, funny, thoughtful
book.
