A Little Princess and Cinderella

Last week, I compared A Secret Garden to my favorite fairy tale, Beauty and the Beast. The subject of this week’s Classics Club post, A Little Princess by Frances Hodgson Burnett, has fairy tale elements which are even more obvious.click to read "A Little Princess and Cinderella" | marissabaker.wordpress.com

It’s pretty much the exact same story as Cinderella — an only child whose sweet disposition is unaffected by being spoiled is left in the care of an unkind woman after her father’s unexpected death. The austere and jealous guardian transforms the girl into a servant who lives in an attic and makes friends with rodents and birds. Eventually, a wealthy man swoops in and rescues her (Tweet about it).

There are even jealous “step-sister” figures in the form of some of the girls at the school (we’re looking at you, Lavinia). And you could call Ram Dass a “fairy godmother” of sorts, since he transforms Sara’s dingy attic into a princess room simply because he notices she’s so kind and wants to do something nice for her. It’s a key fairy-tale trope — eventually Magic (or it’s human equivalent) will step in and set things right if only you’re a good person.

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The Secret Garden and Beauty and the Beast

I suppose there might be better ways to spend a Sunday than baking scones, reading and blogging about books and watching Star Trek, but I really can’t think of any right now. They’re cinnamon apple oatmeal scones, and the books are by Frances Hodgson Burnett, and it’s classic Trek with Kirk, Spock and McCoy. Does it get any better?

The Secret Garden #ccwomenclassics | marissabaker.wordpress.com

Both The Secret Garden and A Little Princess are re-reads on my Classics Club book list. They were some of my favorite books as a child, and my sister and I watched the film adaptations over and over when we were younger. Since they also qualify for the Women’s Classic Literature event, I decided to make them my first classics reads for the new year.

I can’t tell you how much I wanted a secret garden. Actually, I never really outgrew that — I’m sure gardens surrounded by high stone walls covered with ivy are more alluring than ones just sitting out in the front yard where anyone can see them. That garden with its hidden door is probably why The Secret Garden was always my favorite of the two books. That and the fact that there were boy characters — books with just girls in them are nice, but books with boys and girls are better even when there isn’t a hint of romance. Read more

Thoughts on A Book of Celtic Wisdom

I recently read a little book called Anam Cara: A Book of Celtic Wisdom by John O’Donohue. A blog reader mentioned the idea of an anam cara, or “soul friend,” in a message, and I simply had to look it up. You can usually tell how interesting I found a non-fiction book by the number of sticky notes poking out by the time I’m done reading. Case in point:

Soul Friends | marissabaker.wordpress.com

It’s not that I agreed with everything in the book, but rather that I found its musings on the nature of life and connection between people fascinating. The first quote I placed a note next to was also one that I’d read in the article that initially pointed me toward this book.

Anam is the Gaelic word for soul and cara is the word for friend. So anam cara in the Celtic world was the “soul friend.” In the early Celtic church, a person who acted as a teacher, companion, or spiritual guide was called an anam cara. It originally referred to someone to whom you confessed, revealing the hidden intimacies of your life. With the anam cara you could share your inner-most self, your mind and your heart. (p.13)

I love this idea, which comes from Chapter 1: The Mystery of Friendship. I’ve been toying with the idea of incorporating it into a new title for this blog. Perhaps “Soul Teacher”? I’m not sure yet.

A couple pages after this quote, the writer takes this discussion in a direction dear to my heart. He describes Jesus as “the secret anam cara of every individual” (p. 15). Isn’t that a beautiful picture? Jesus is our “soul friend,” our most intimate companion, teacher and spiritual guide, the One to whom you can reveal your most hidden self.

Consequently, love is anything but sentimental. In fact, it is the most real and creative form of human presence. Love is the threshold where divine and human presence ebb and flow into each other. (p.15)

Can We Heal Ourselves?

I loved the first chapter of this book. It was in later chapters that I became frustrated with aspects of O’Donahue’s ideology. In Chapter 3: Solitude Is Luminous, he talks about healing wounds in a way that really resonates with me, but I feel his solutions don’t go deep enough.

It’s true we often seem “destructively addicted to the negative” because confronting it seems to difficult. “If we maintain our misery at this surface level,”O’Donohue writes, “we hold off the initially threatening but ultimately redemptive and healing transfiguration that come through engaging with our inner contradiction.” I’d agree with this — we have to get to know ourselves before we can learn, grow and change ourselves. But O’Donohue isn’t advocating change so much as self-acceptance though befriending “the negative” and recognizing “that it is not destructive. It often seems that morality is the enemy of growth” (p. 115).

There are simply some things in our lives that shouldn’t be accepted. It’s not healthy or safe to befriend the dark side, and we can’t always turn negatives into something benign just by being nice to them. I have to believe it’s possible to grow and remain moral at the same time.

And yet, O’Donohue has a point that we must beware going to the other extreme of spending too much time analyzing and dragging up our pasts. Searching for your problems over and over again won’t help you overcome them, and self-knowledge is only useful if you can act on it in some way to heal and grow. He compares people who go through endless cycles of self-analysis to gardeners who dig up their potatoes every day and replant them a different way.

People in our hungry modern world are always scraping at the clay of their hearts. They have a new thought, a new plan, a new syndrome, that now explains why they are the way they are. …. Negative introspection damages the soul. It holds many people trapped for years and years, and ironically, it never allows them to change (p. 122).

The very next line is where he lost me: “It is wise to allow the soul to carry on its secret work in the night side of your life” (p. 122). Much like he suggests befriending our negativity is the best way of dealing with it, he believes our wounds can heal themselves if we give our souls space and approach our ” hurt indirectly and kindly” (123). But our souls aren’t designed to heal themselves. They’re healed by God.

I feel this idea of self-healing is connected to the writer’s idea of the divine residing inside our souls. Though he references Christianity heavily, that’s not the only theology O’Donohue draws on — the theology of this book is a mishmash of Irish Catholicism, Celtic paganism, and mysticism. He’s not comfortable with the idea of a “faraway divinity,” and so adopts the idea that the divine is within us. He’s missing a third option, though.

Biblicaly, the divine is outside us, but He’s not far away. “The word is very near you, in your mouth and in your heart,” and the living Word wants to dwell inside us (Deut. 30:14; Rom. 10:8). I suppose you could say the divine resides inside us after we submit ourselves to Christ, but we have to ask Him in — not start out looking inside our own souls for the answers.

You Have A Purpose

I want to share with you a passage in this book that I found hugely encouraging. It’s also from Chapter Three.

To be born is to be chosen. No one is here by accident. … Your identity was not offered for your choosing. In other words, a special destiny was prepared for you. But you were also given freedom and creativity to go beyond the given, to make a new set of relationships and to forge an ever new identity, inclusive of the old but not limited to it. … Destiny sets the outer frame of experience and life; freedom finds and fills its inner form. …

You were sent to a shape of destiny in which you would be able to express the special gift you bring to the world. Sometimes this gift may involve suffering and pain that can neither be accounted for nor explained. There is a unique destiny for each person. Each one of us has something to do here that can be done by no one else. If someone else could fulfill your destiny, then they would be in your place and you would not be here. … When you begin to decipher this, your gift and giftedness come alive. Your heart quickens and the urgency of living rekindles your creativity. (83-84)

This past Shabbat, the speaker at my Messianic congregation talked about Leah. She was not as pretty as her younger sister Rachel and she was unloved by her husband. She probably thought she didn’t make much of an impact on the world. And yet, her example of faith is recorded in the Bible for everyone to read, and her children founded the priestly lineage of Levi and the royal lineage of Judah, among other nations. She’s a direct ancestor of notable personages like Moses, David and Jesus Christ Himself. Her life matters more than she ever knew.

You also have a purpose in this world, even if you can’t see it. This isn’t to perpetuate an idea that you’re a “special unicorn” who is better than other people. Rather, it’s to say that of us has a unique gift that’s of real value, and you have a hand in shaping how it impacts the world.

The Tenant of Wildfell Hall

I, who never wanted an electronic reading device, read all of Anne Bronte’s The Tenant of Wildfell Hall on my phone. I recently upgraded to a cellphone that actually works where I live, and it also happens to be a smartphone tempting me with free classics on Google Books. I thought it would be easier to pull out my phone and read a little than trying to carry around the printed copy of Anna Karenina I was currently reading (and which I finally finished!).

Like her sister Charlotte did with Jane Eyre, Anne Bronte captivated me with her story. I read it while waiting for a repair on my car’s exhaust system. I read it while eating breakfast. I even read in the bathtub while praying I didn’t drop my phone in the water, but I had to know what happened next.

Stylistically, what caught my eye was that the bulk of the novel is narrated by the main character Gilbert Markham. I’m trying to think of any other female authors of this time period who wrote a first-person narrative from a man’s perspective, but haven’t so far. Read more

Women’s Classic Literature Event

Extra post this week because I’m so excited about the Women’s Classic Literature Event hosted by The Classics Club. I’ve read many great classics written by women, and look forward to discovering more over the next year. Even if you’re not part of the Classics Club reading challenge, you’re still welcome to jump on board with this event using the #ccwomenclassics hashtag to share what you’re reading.

A Survey for the Women’s Classic Literature Event

Introduce yourself. Tell us what you are most looking forward to in this event.

  • As a female writer, I’m all for reading literature written by women. I studied English at The Ohio State University, and my undergraduate research project focused on Frances Burney and Mary Wollstonecraft. For this event, I’m most looking forward to seeing my fellow readers discover amazing classics by women writers, and then gathering suggestions from them for my own “to-read” list.

Have you read many classics by women? Why or why not?

  • I have read quite a few. We picked out some for my high school curriculum (homeschooled), then in college I was blessed to take classes from English professors who made sure to teach fine books written by both men and women.

Pick a classic female writer you can’t wait to read for the event, & list her date of birth, her place of birth, and the title of one of her most famous works.

  • Mary Shelley, born 30 August 1797 in London, England. I’ve read some of her mother’s writings, but nothing by her. Frankenstein is Mary Shelley’s most famous work.

Favorite classic heroine? (Why? Who wrote her?)

  • Jane Eyre, written by Charlotte Bronte. I love first-person narrative when it’s well written, and Bronte makes Jane a spectacular narrator. She’s a strong, clever woman and I admire her moral strength and unabashed living out of her Christian faith. (Bonus: Jane’s a fictional example of my INFJ personality type.)

Recommend three books by classic female writers to get people started in this event. (Again, skip over this if you prefer not to answer.)

  • Evelina by Frances Burney. I did my undergraduate research project on Burney, and highly recommend her work to fans of Jane Austen. Evelina is the shortest and most manageable of her novels, so I suggest trying that one out before jumping into the 900+ page Cecelia or Camilla.
  • Jane Eyre by Charlotte Bronte. If you haven’t read this famous classic yet, I hope you will. It’s one of my favorite books of all time, and I love the characters.
  • North and South by Elizabeth Gaskell. I love this book and the BBC adaptation staring Daniela Denby-Ashe and Richard Armitage. The casting is perfect, and my only quibble with the plot adaptation is the ending/proposal scene … but no more on that for fear of spoilers.

Will you be joining us for this event immediately, or will you wait until the new year starts?

  • I’ll probably write about Tenant of Wildfell Hall in November or December.

Do you plan to read as inspiration pulls, or will you make out a preset list?

  • I’ll pull from the women writers already on my Classics Club list, and maybe add a few more as inspiration strikes.

Share a quote you love by a classic female author — even if you haven’t read the book yet.

  • Here’s one I took note of when reading Anne Bronte’s Tenant of Wildfell Hall.
Women’s Classic Literature Event | marissabaker.wordpress.com
caterpillar credit: Eli Duke, CC BY-SA via Flickr

Classics Club — The Iliad

I’m not actually all that far behind on my reading for the Classics Club book challenge — I’m just behind on blogging about the books. Right now, I’m halfway through Anna Karenina, and I recently finished Tenant of Wildfell Hall and The Iliad. Since I also have to write about The Iliad for the high school curriculum I’m building (which my brother is trying out this year), that’s the one I wanted to talk about today.

Usually, I like to read something about the author’s history and the time period framing their writings when I explore a piece of classic literature. Unfortunately, we don’t know much about Homer. There’s even debate about whether or not he’s the one who wrote down the epic poems he (probably) composed. The introduction to the Robert Fagles translation seems to lean toward Homer writing his own poems down once the art of writing was reintroduced to Greece, though it’s all “pure speculation.” I suppose in some way the mystery surrounding these texts makes them even more intriguing.

Having once been told by a nihilistic classmate that nothing original has been written since Homer, I was rather curious to finally read The Iliad. While I can’t say I agree with him, it’s not hard to see The Iliad‘s influence on modern literature, and when I get around to reading The Odyssey (also on my Classics list) I’m sure I’ll notice even more themes that show up in modern plot and characterization.

What intrigued me most, though, was the portrayal of women in The Iliad. Though several women have lengthy passages of dialogue (including Helen and Hector’s wife Andromache), and goddesses play a huge role in the plot, they’re all show in some kind of captivity to men. No matter how strong of a character Andromache is, once she loses Hector she has no social position and no hope of avoiding slavery. Paris stole Helen, and she makes no secret of how badly that has affected her and how little she respects him. Other female characters, like Briseis, are already captives in the Achaean camp. Even the goddesses are under Zeus’s power, and his threats toward Hera starting in Book 1 portray an eyebrow-raising level of domestic abuse on Olympus.

The intriguing part is that Homer doesn’t give the impression that this portrayal of women is entirely okay. He does imply it’s “normal” for that time period, but he takes great care to show the womens’ side of the story more than one might expect in a poem mainly about the wars of gods and men. We see goddesses scheming to get around restrictions of the gods. We get plenty of dialogue from Helen, showing that ten years haven’t simply turned her into a submissive or entirely complicit captive even though her inner turmoil is ignored by both Aphrodite and Paris. Even Briseis — the captive Agamemnon steals from Achilles — has a chance to give her side of the story and make sure no one forgets that she (and by extension the other female captives mentioned as spoils of war or offered as prizes at Patroclus’ funeral games) is a human being.

It makes me miss having University access to databases full of scholarly journals — I’d love to read what people who have the time/resources to study these characters better are writing. I did find one interesting article, though: The Portrayal of Women in the Iliad by S. Farron. He says, “Homer had different attitudes from his characters. He knew that women are complete human beings and constantly emphasized how deep and intense their feelings are.” I’d agree with this writer that Homer was trying to craft real characters, not urge social reform, but it’s still intriguing that he realized women were worth writing well. He treated them as real characters with emotions and thoughts that were relevent to the story, which is more than his male characters did.


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