Emma A modern retelling

Alexander McCall Smith, 1948-

Large print - 2014

"The summer after university, Emma Woodhouse returns home to the village of Highbury, where she will live with her health-conscious father until she is ready to launch her interior-design business and strike out on her own. In the meantime, she will do what she does best: offer guidance to those less wise in the ways of the world than herself. Happily, this summer brings many new faces to Highbury and into the sphere of Emma's not always perfectly felicitous council: Harriet Smith, a naive teacher's assistant at the ESL school run by the hippie-ish Mrs. Goddard; Frank Churchill, the attractive stepson of Emma's former governess; and, of course, the perfect Jane Fairfax. This Emma is wise, witty, and totally enchanting, a...nd will appeal equally to Sandy's multitude of fans and the enormous community of wildly enthusiastic Austen aficionados"--

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Subjects
Genres
Romance fiction
Published
[New York] : Random House Large Print c2014, [2015]
Language
English
Main Author
Alexander McCall Smith, 1948- (-)
Edition
First large print edition
Physical Description
437 p. (large print) ; 24 cm
ISBN
9780804194709
Contents unavailable.
Review by New York Times Review

AS BICENTENARIES COME and go, so do adaptations of Jane Austen. "Pride and Prejudice" (1813) begat "Pride and Prejudice and Kitties" (2013), not to be confused with "Pride and Prejudice and Zombies" (2009). In 2011, two centuries after Austen broke into print, the Austen Project commissioned modern retellings of her six novels. The third of these, Alexander McCall Smith's contemporary "Emma," riffs on Austen's description of the heroine's matrimonial designs by turning her into a budding interior decorator. McCall Smith also reimagines the heroine's valetudinarian father as a germophobic food faddist, and reveals that Harriet Smith - an illegitimate child in Austen's version - was sired by an anonymous sperm donor. Yet this modernization remains half-hearted. A 21st-century Emma wouldn't paint a portrait of her friend Harriet, as McCall Smith's heroine does: She would Instagram her. A truly modern-day Emma would inhabit a smartphone screen, not McCall Smith's fat hardcover. (See the YouTube series "Emma Approved," which casts Ms. Woodhouse as a life coach masterminding makeovers.) In his obliviousness to social media, McCall Smith lags behind a different mystery writer, Reginald Hill, who spliced emails into an adaptation of Austen's uncompleted last novel. Good adaptations capture the spirit of the original: A female commoner is to a male aristocrat in Austen's novel as a female high school student is to a male college student in Amy Heckerling's 1995 film adaptation, "Clueless." McCall Smith's "Emma," in contrast, reads like a too literal translation. His reluctance to alter now anachronistic details forces him to spend pages explaining why, in an age of universal schooling, Emma would have a governess, and why, at a time when overscheduling afflicts even the erstwhile leisure class, she wouldn't have a job. McCall Smith's zingers occasionally approach Austen's minimalist wit: "The only entirely safe car, Mr. Woodhouse felt, was one kept resolutely in the garage." But his generic jokes about the "usual subjects of teenage interest (music, the opposite sex, the incorrigibility of parents, clothes and so on") fall as flat as his attempts at profundity: "She shivered, and thought: Why do I shiver when I think of sex? Did everybody else shiver, or was it just her?" Austen's most ludicrous character, the babbling spinster Miss Bates, is an object lesson in the dangers of not knowing when to shut up. McCall Smith's narration bears less resemblance to Austen's cool concision than to Miss Bates's fussy ramblings: "George might at this stage have been by himself, but this was not always so: For four years he had been closely involved with a woman a few years older than he was, ... an attractive redhead whom George had met when he was at university in Exeter, and with whom he had fallen in love. This had been reciprocated, and they had enjoyed four years together, although living separately. ... They regularly went off on holiday to France or Italy, and they had also spent two months traveling in India and Sri Lanka." Such padding sometimes degenerates into purple prose: "She knew nothing about him, but was drawn towards him by a curious force that made her feel like a swimmer in a powerful current. She could not struggle against it; she simply had to remain afloat while the current took her away." Elsewhere, McCall Smith seems to confuse Jane Austen with George Eliot; Austen would never have pontificated about "that sudden imaginative leap that lies at the heart of our moral lives." Nor would she have described characters who "beam with pleasure" - as opposed to beaming with pain? Nor would her narrator have explained tautologically that Emma's chief characteristic is "headstrongness - a trait that you found in certain children who simply would not be told and who insisted on doing things their way." Forget "Pride and Prejudice and Zombies." McCall Smith's "Emma" reads like an Austen novel written by zombies. LEAH PRICE teaches in the English department at Harvard. Her most recent book is "How to Do Things With Books in Victorian Britain."

Copyright (c) The New York Times Company [May 31, 2015]
Review by Library Journal Review

When newly minted interior designer Emma Woodhouse returns to Hartfield after graduating from university, she finds village affairs in disarray. Her sister has eloped via motorcycle. Her governess is filling her day with obscure online courses. Her father is fretting about microbes and infection. And her friend Harriet has developed an unsuitable fondness for a local innkeeper. An impresario is needed, and young Emma, with her freshly educated eye, is only too happy to oblige. VERDICT The third volume in HarperCollins's series of Jane Austen reboots, this title follows Joanna Trollope's Sense and Sensibility and Val McDermid's Northanger Abbey. Like the rest of the project, this effort meets with mixed success. McCall Smith's charming prose and gentle humor marry marvelously with Austen's iconic affairs of the heart, so well that the book reads like a Regency piece. As a result the cell phones, Mini Coopers, and gastropubs of the 21st century seem jarringly out of place. Still, this retelling gives Austenphiles an enjoyable opportunity to visit with the Woodhouse clan and is sure to be a hit with McCall Smith's legion of fans. As for the Austen project itself, one should reserve judgement, at least until the July publication of Curtis Sittenfeld's Pride and Prejudice. [See Prepub Alert, 10/5/14; see also "A Modern Emma: Alexander McCall Smith Reimagines Jane Austen's Classic" by Barbara Hoffert, LJ 12/14.-Ed.]-Jeanne Bogino, New Lebanon Lib., NY (c) Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

In the latest installment of the Austen Project, McCall Smith (The Handsome Man's De Luxe Cafe, 2014, etc.) catapults snobbish matchmaker Emma Woodhouse into the 21st century.His latter-day Emma possesses all the youth and beauty and a good deal of the wit of Jane Austen's heroine. She also shares her predecessor's less appealing qualities. Bossy and controlling as a child, she's only more so now that she's 22 and bent on launching her own interior design consultancy. In creating Emma, Austen supposedly set about depicting a character that nobody but she would like very much. McCall Smith paints a similarly challenging if ultimately fond portrait of a young woman whose hubris causes complete chaos before she's forced to acquire some humility and self-knowledge. Devotees of the original will recognize the likes of Miss Taylor, the no-nonsense governess who all but raises Emma and her sister after they lose their mother, and George Knightley, Emma's friend and the only person brave enough to challenge her. Mr. Woodhouse, Emma's father, has evolved from a "valetudinarian" into a germaphobe crank, though to get around questions of how he manages the upkeep on their country pile, McCall Smith also makes him a retired inventor who years earlier patented a valve for the liquid-nitrogen cylinders used by dermatologists. Modernity is mischievously accommodated elsewhere, too: The flashy young vicar's nouveau riche wife is recast as a TV talent show contestant, while dim, pretty Harriet Smith, the illegitimate product of an affair in Austen's telling, here becomes the progeny of a single mother and a sperm donor. Emma even finds herself questioning her sexuality. In less capable hands, it could all seem clunky and crass. Instead, McCall Smith has written a delightfully droll, thoughtful novel that reflects on money's enduring role in relationships as well as on the nature of this meddlesome heroine's long-lived appeal. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Chapter 5 Dearly beloved," began the vicar. "We are gathered together here in the sight of God and in the face of this congregation . . ." The echoing opening of the Wedding Service, couched in the Cranmerian prose of the Book of Common Prayer, could not but move every one of the one hundred guests attending the wedding of Isabella Woodhouse to John Knightley. Emma listened to each word, and was impressed by the sheer solemnity of what she heard: ". . . which is an honourable estate . . . and first miracle he wrought, in Cana of Galilee . . . and therefore is not by any to be enterprised, nor taken in hand, unadvisedly, lightly, or wantonly . . ." The resonant language brought home to her the significance of the occasion. This was her Isabella, her sister, taking such an irrevocable and adult step, leaving the security of her childhood home and venturing out as a married woman, as Mrs. Knightley. It was hard for her to accept that this was actually happening; it was all so sudden, and so dramatic--almost an elopement, but not quite. She looked about her at the congregation almost filling the small Norman church in Highbury. The Knightley family was led by George, and was well represented by an assortment of cousins, even if somewhat distant ones; there were fewer Woodhouses--not because various relatives had been passed over, but because they were a smaller family. Then there were people from the village: Miss Bates, an unmarried woman in her fifties who occupied, on a fixed rent, a cottage in the village, and who lived a narrow life in severely reduced circumstances; James Weston, a widower whose Georgian house of eight bedrooms was barely a mile from Hartfield, and who had always been a good friend to Mr. Woodhouse; Mr. Perry, an exponent of alternative medicine, regarded as a charlatan by some (but not by Mr. Woodhouse), and his wife, an illustrator of educational textbooks; and a number of friends whom Isabella had known at Gresham's: Rosie Slazenger, Timmy Cottesloe, Kitty Fairweather. Emma knew them too, although she was a few years younger; Mr. Woodhouse had heard their names before and had met some of them from time to time, but could never tell which one was which. Mr. Woodhouse had reconciled himself to Isabella's choice. His attempt to marry her off had succeeded, of course, but not in the way he had imagined. He had wanted her to find a husband in order to protect her, and she had done just that, with alacrity and determination, although not alighting upon quite the sort of husband he had envisaged for her. Still, it could have been worse; and the most important consideration, he knew, was her happiness. John Knightley made her happy. She adored him, and as far as Mr. Woodhouse could make out, this adoration was fully reciprocated. And he accepted that the fact that he had a tattoo was far less important than the fact that they were both happy. His tattoo, moreover, was a relatively discreet one, and not something that people would necessarily notice, although it was a pity, Mr. Woodhouse felt, that the best man should choose to mention it in his speech. Immediately after the wedding she informed him that she was three months pregnant, and that she was expecting twins. Emma, who was sixteen at the time, greeted this news with delight, but proclaimed, quite spontaneously, "Not for me! I'm never going to get myself pregnant! Yuck!" She addressed this to Miss Taylor, who was surprised by the vehemence of her reaction. "But it's a wonderful thing to have children," she said. "You love children--I've seen you with those little girls in the village shop." "Children, yes," said Emma. "But pregnancy, no. All that . . ." She assumed an expression of disgust. "All that fumbling." Miss Taylor smiled. "You shouldn't worry about that," she said. "That'll take care of itself. The important thing is to meet a young man whom you love. Once that happens, and I hope it does, then everything else--fumbling, and so on--will seem quite natural." Emma shook her head vigorously. No, Miss Taylor did not understand; how could she--at her age? "I don't ever want to get married," she announced. "Never. Never. Not in a thousand years." Miss Taylor was tolerant. "Millennia come round so quickly, Emma." She smiled again. "I've already experienced one in my lifetime. And you may think that of marriage now, you know, but one's views do change." "Mine won't," said Emma, with conviction. She was certain; she knew what lay ahead of her: she would continue to be pretty, clever, and rich. That did not include getting married: pretty, clever, and rich people did not have to bother with such things. "Oh well," said Miss Taylor. "There are other lifestyles. There is a great deal to be said for being single." And she thought: Exactly what? Not having to worry about another person; not having to accommodate a partner's wishes; not having to tolerate the slow, gravitational decline of the flesh into middle age and beyond, into that territory of sleepless nights and infirmity; not having to listen to familiar views on the same things, time after time? Not having to have to, in short. And yet, she thought, if I had to choose between being a governess and having a man . . . Emma, having pronounced, now looked thoughtful. "Of course, I quite see how lots of other people want to get married. I can see how it's fine for them. In fact . . ." Miss Taylor waited. "Yes?" "It's probably rather fun to help other people find the right person. Yes, I think it must be." An idea had entered her mind. It was unbidden, but it excited her, and had to be expressed. "You, for example, Miss Taylor . . . What about you and James Weston?" This was not an area into which Miss Taylor felt they should stray. She was, after all, Emma's governess, and there were boundaries to be observed, no matter how easy and familiar their relationship had been. "Leave me out of it," she said sharply. " Cadit quaestio ." " Cadit quaestio ," muttered Emma, under her breath. " Sed quaestio manet ." She had asked her Latin teacher at school for a suitable rebuttal to cadit quaestio , and she had said that one might retort: But the question still remains, and that could be rendered sed quaestio manet . That was to put it simply, she explained. Simpliciter . Emma loved Latin because it gave her a sort of power. At school she had tossed a Latin phrase at a boy who had been staring at her in a disconcerting way, and he had been crushed--there was only one word for it: crushed . Excerpted from Emma: A Modern Retelling by Alexander McCALL SMITH All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.