The horrors are fake and yet I remain silly
Aug. 6th, 2025 12:51 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
The Beasties liftcord is doing a successive run of Jane Austen readalongs, so I skipped ahead in my plan to reread them all in publication order to participate in the one for my favorite Austen, the niche and generally least-loved Northanger Abbey.
Northanger Abbey is about a nice but fairly ordinary young girl named Catherine Morland, who is neither particularly smart, pretty, nor industrious, but is very sweet and a bit naive. Perhaps unsurprisingly, the story ends up destroying some of that naivete via having a plot happen to Catherine, and put her general integrity and good-naturedness to the test. Appropriately for a heroine she does find a moral spine re: treating people nicely, thus establishing it as an actual principle and character trait. The book starts off with a whole chapter about how un-heroinely she is compared to the elegant flowers that populate popular novels of the time, really getting in on the sort of hashtag-relatable thing that would eventually become more popular. It’s not as concise as the opening line of P&P but it’s still one of my favorite book opening chapters.
Naive, good-natured Catherine’s coming-of-age plotline kicks off when she accompanies a kindhearted but shallow family friend to Bath, thus leaving her large boisterous family for the first time. After an isolated beginning, Catherine makes some friends in Bath–a vivacious young woman named Isabella, whose brother is friends with Catherine’s older brother, which they find out when both young men also appear in Bath; and Eleanor and Henry Tilney, a brother-and-sister pair whose father is a general. Henry is a clergyman with a good-naturedly teasing sense of humor and no fear of reading “girly” novels; Eleanor is a quiet, sweet type who isn’t ordinarily that shy but goes back into her shell whenever her overbearing father is around.
The first sign of trouble in paradise (i.e. Bath, which Austen apparently hated) is when some scheduling conflicts break out between these two groups of friends, by which we mean every time Catherine makes plans with the Tilneys, the Thorpes show up at Catherine’s house to be like “get in loser we’re going shopping” and simply do not accept “I already have plans with other people and it’d be rude AF for them to show up and I’ve just fucked off somewhere else” as a sufficient excuse. This, tragically for Catherine, turns out to be just the earliest signs of something dreadfully morally deficient in the Thorpe family’s character, although not in any sort of dark and murdery way like happens in the kind of novels Catherine and Isabella like to read, and which Jim Thorpe also likes to read but pretends he doesn’t because he’s a sexist boor.
Even more tragically for Catherine, the drama with the Thorpes is basically the subplot, or at least the starter plot that foreshadows the main plot. For there is also drama with the Tilneys! And Catherine would rather die than have drama with the Tilneys. At first, Catherine is over the moon when she is invited to visit Eleanor and stay at their home in Northanger Abbey, which is, as you can probably guess from the name, a former abbey. As a gothic novel girlie, Catherine loves this, but also ends up letting her imagination run away with her a bit, which is very funny for the reader and occasionally mortifying to Catherine. Similarly to the first plot, the Tilney’s overbearing father is eventually revealed to be a huge dick, but in a much more prosaic way than happens in the types of books Catherine reads. Henry Tilney, as befits a romantic hero, ultimately defies his father and travels all the way to Shropshire to propose to Catherine, and the story ends on a happy note with Catherine, who has by now had her fill of abbeys, settling into the modern but charming parsonage with her nice, normal, supportive, funny guy who is not at all broody or tormented.
As befits a Jane Austen novel, the social commentary on this one is biting, focusing mainly on how being money-grubbing gossips causes people to mistreat each other, with a couple of digs on letting your imagination run away with you and the perils of only being able to talk about fashion. Also, while I’m more familiar with bad nineteenth-century fiction, I’ve read a couple of the kinds of eighteenth-century gothics Austen is sending up here–particularly The Mysteries of Udolpho and The Monk, which are name-dropped–to appreciate many, if not all, of the jokes she’s making.
At any rate, I think this book is an underrated classic and I love it to bits and I wish all overly excitable horror girlies an equally happy ending (even if it looks very different; I know British male clergymen are not for everybody, especially not me).
Northanger Abbey is about a nice but fairly ordinary young girl named Catherine Morland, who is neither particularly smart, pretty, nor industrious, but is very sweet and a bit naive. Perhaps unsurprisingly, the story ends up destroying some of that naivete via having a plot happen to Catherine, and put her general integrity and good-naturedness to the test. Appropriately for a heroine she does find a moral spine re: treating people nicely, thus establishing it as an actual principle and character trait. The book starts off with a whole chapter about how un-heroinely she is compared to the elegant flowers that populate popular novels of the time, really getting in on the sort of hashtag-relatable thing that would eventually become more popular. It’s not as concise as the opening line of P&P but it’s still one of my favorite book opening chapters.
Naive, good-natured Catherine’s coming-of-age plotline kicks off when she accompanies a kindhearted but shallow family friend to Bath, thus leaving her large boisterous family for the first time. After an isolated beginning, Catherine makes some friends in Bath–a vivacious young woman named Isabella, whose brother is friends with Catherine’s older brother, which they find out when both young men also appear in Bath; and Eleanor and Henry Tilney, a brother-and-sister pair whose father is a general. Henry is a clergyman with a good-naturedly teasing sense of humor and no fear of reading “girly” novels; Eleanor is a quiet, sweet type who isn’t ordinarily that shy but goes back into her shell whenever her overbearing father is around.
The first sign of trouble in paradise (i.e. Bath, which Austen apparently hated) is when some scheduling conflicts break out between these two groups of friends, by which we mean every time Catherine makes plans with the Tilneys, the Thorpes show up at Catherine’s house to be like “get in loser we’re going shopping” and simply do not accept “I already have plans with other people and it’d be rude AF for them to show up and I’ve just fucked off somewhere else” as a sufficient excuse. This, tragically for Catherine, turns out to be just the earliest signs of something dreadfully morally deficient in the Thorpe family’s character, although not in any sort of dark and murdery way like happens in the kind of novels Catherine and Isabella like to read, and which Jim Thorpe also likes to read but pretends he doesn’t because he’s a sexist boor.
Even more tragically for Catherine, the drama with the Thorpes is basically the subplot, or at least the starter plot that foreshadows the main plot. For there is also drama with the Tilneys! And Catherine would rather die than have drama with the Tilneys. At first, Catherine is over the moon when she is invited to visit Eleanor and stay at their home in Northanger Abbey, which is, as you can probably guess from the name, a former abbey. As a gothic novel girlie, Catherine loves this, but also ends up letting her imagination run away with her a bit, which is very funny for the reader and occasionally mortifying to Catherine. Similarly to the first plot, the Tilney’s overbearing father is eventually revealed to be a huge dick, but in a much more prosaic way than happens in the types of books Catherine reads. Henry Tilney, as befits a romantic hero, ultimately defies his father and travels all the way to Shropshire to propose to Catherine, and the story ends on a happy note with Catherine, who has by now had her fill of abbeys, settling into the modern but charming parsonage with her nice, normal, supportive, funny guy who is not at all broody or tormented.
As befits a Jane Austen novel, the social commentary on this one is biting, focusing mainly on how being money-grubbing gossips causes people to mistreat each other, with a couple of digs on letting your imagination run away with you and the perils of only being able to talk about fashion. Also, while I’m more familiar with bad nineteenth-century fiction, I’ve read a couple of the kinds of eighteenth-century gothics Austen is sending up here–particularly The Mysteries of Udolpho and The Monk, which are name-dropped–to appreciate many, if not all, of the jokes she’s making.
At any rate, I think this book is an underrated classic and I love it to bits and I wish all overly excitable horror girlies an equally happy ending (even if it looks very different; I know British male clergymen are not for everybody, especially not me).