Abstract
This chapter considers how the threat against women in Georgette Heyer’s Regency Buck (1935) can re-attune readings of social and sexual precarity in Jane Austen’s novels. When Heyer published Regency Buck, she was already well established as a historical novelist: Regency Buck marked her move into the field with which she is now primarily associated and which she is broadly considered to have originated. Heyer noted her debt to Austen, and Regency Buck references its Austenian lineage explicitly. Yet this is a novel in which the female protagonist is sexually assaulted by her guardian, the Earl of Worth, and is threatened with rape by two other suitors, including the Prince Regent. If Austen influences Heyer, then we must also think about how Heyer influences our reading of Austen. This complicates literary genealogies (in the Bloomian sense): rather than a hierarchal structure of influence, this chapter proposes a rhizomatic model of interconnectivities. How can the threat of sexual violence and women’s social precarity in Heyer be used to re-orient how Austen is read? Bringing these novels into a ‘back-and-forthness’ of a rhizomatic model of interconnectivities opens up new understandings of reading women’s writing, ones which consider how women’s social and sexual precarity is at the heart of manners, money, and marriage.
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Notes
- 1.
Germaine Greer, The Female Eunuch [1970] (London: Flamingo, 1993), p. 192 (emphasis added).
- 2.
Greer, The Female Eunuch, pp. 18 and 19.
- 3.
Greer, The Female Eunuch, p. 19. Greer’s knowledge about Mills & Boon largely stemmed from Peter Mann, The Romantic Novel, a Survey of Reading Habits (London: Mills & Boon, 1969). Mills & Boon commissioned Mann to undertake a quantitative study of their readership, and his 24-page report was based on responses to questionnaires from 2788 readers of romance fiction (the questionnaire was sent out with the summer catalogue to the 9300 individuals on the Mills & Boon mailing list). Mann argued that the concept of romantic love ‘carrie[d] with it a certain male dominance, since romantic love itself carries with it the practice of the male pursuing the female’ (p. 24).
- 4.
Greer, The Female Eunuch, pp. 194 and 193.
- 5.
Greer, The Female Eunuch, p. 193.
- 6.
Greer, The Female Eunuch, p. 196.
- 7.
Greer, The Female Eunuch, p. 195.
- 8.
Greer, The Female Eunuch, p. 200.
- 9.
Deborah Lutz, The Dangerous Lover: Gothic Villains, Byronism, and the Nineteenth-Century Seduction Narrative (Columbus: Ohio State University Press, 2006), p. 1.
- 10.
Deidre Lynch, ‘Introduction: Sharing with Our Neighbours’, in Janeites: Austen’s Disciples and Devotees, edited by Deidre Lynch (Princeton: Princeton University Press, 2000), pp. 3–24, p. 9.
- 11.
‘The High Adventure’, The Sunday Times, 26 September 1926, p. 9.
- 12.
‘Eden Philpotts’, The Sunday Times, 20 September 1931, p. 7.
- 13.
‘Display Ad’, The Observer, 4 January 1953, p. 7.
- 14.
Greer, The Female Eunuch, p. 196.
- 15.
They have an apparently successful marriage, as they appear together and publically happy in Heyer’s An Infamous Army (1937), which is set five years after Regency Buck, during the Battle of Waterloo. Heyer’s Regency world is populated occasionally with characters from her other novels. The best-selling These Old Shades, which Cartland plagiarised, is the first of three novels about the Avon family, and, like the Worth family, their history also concludes with An Infamous Army (see Stacy Gillis, ‘The Cross-Dresser, the Thief, His Daughter and her Lover: Queer Desire and Romance in Georgette Heyer’s These Old Shades’, Women: A Cultural Review 26:1–2 (2015), pp. 57–74).
- 16.
‘Display Ad’, The Observer, 22 September 1935, p. 8.
- 17.
Compton Mackenzie, ‘Books To-day: Novelist Calls a Spade a Spade’, Daily Mail, 19 September 1935, p. 4.
- 18.
Jennifer Kloester, Georgette Heyer: Biography of a Bestseller (London: William Heinemann, 2011), p. 147.
- 19.
Greer, The Female Eunuch, p. 196.
- 20.
Greer, The Female Eunuch, p. 196.
- 21.
Elizabeth K. Spillman, ‘The “Managing Female” in the Novels of Georgette Heyer’, in New Approaches to Popular Romance Fiction: Critical Essays, edited by Sarah S.G. Frantz and Eric Murphy Selinger (Jefferson: McFarland & Co., 2012), pp. 84–98, p. 84.
- 22.
Kloester, Georgette Heyer, p. 333.
- 23.
Georgette Heyer, Regency Buck [1935] (London: Mandarin, 1991), p. 40.
- 24.
Kloester notes one major chronological error in the novel: the Taverners visit Brighton in 1812, and describe the Oriental architecture of the Brighton Pavilion, although the domes and minarets did not come into existence until John Nash took on the design of the third and final expansion of the building in 1815 (Georgette Heyer, p. 143).
- 25.
Jane Austen, Persuasion [1817] (Edinburgh: John Grant, 1906), p. 35.
- 26.
Worth’s brother says that, when Barrymore leers at Taverner, it ‘is only the Cripplegae, and the Barrymores, you cannot be held accountable for their odd manners. If you had known Hellgate, the late Earl, you would think nothing of this man’ (p. 241). The Barrymores were by-words for social, financial, and sexual scandal in the late eighteenth and early nineteenth centuries.
- 27.
Pamela Regis, A Natural History of the Romance Novel (Philadelphia: University of Pennsylvania Press, 2003), p. 127.
- 28.
Jane Austen, Plan of a Novel. According to Hints from Various Quarters by Jane Austen. With Opinions on Mansfield Park and Emma. Collected and Transcribed by Her. And Other Documents (Oxford: Clarendon Press, 1926), pp. 9 and 11.
- 29.
Mary Brunton, Self-Control: A Novel (Edinburgh: George Ramsey & Co., 1811). In Regency Buck, not ‘even Laura’s passage down the Amazon had the power to hold [Judith’s] interest’ (p. 258), as she waits to meet Worth after her ill-fortuned drive from London to Brighton. Heyer is wrong though: it is not down the Amazon, but rather down an unnamed river in Quebec, that Laura escapes from Hargrave by strapping herself into a canoe.
- 30.
Greer, The Female Eunuch, p. 19.
Bibliography
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———. 1926. Plan of a Novel. According to Hints from Various Quarters by Jane Austen. With Opinions on Mansfield Park and Emma. Collected and Transcribed by Her and Other Documents. Oxford: Clarendon Press.
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Display Ad. 1935. The Observer, September 22, p. 8.
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Eden Philpotts. The Sunday Times, September 20, 1931, 7.
Gillis, Stacy. 2015. The Cross-Dresser, the Thief, His Daughter and Her Lover: Queer Desire and Romance in Georgette Heyer’s These Old Shades. Women: A Cultural Review 26 (1–2): 57–74.
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Heyer, Georgette. 1991. Regency Buck [1935]. London: Mandarin.
Kloester, Jennifer. 2011. Georgette Heyer: Biography of a Bestseller. London: William Heinemann.
Lutz, Deborah. 2006. The Dangerous Lover: Gothic Villains, Byronism, and the Nineteenth-Century Seduction Narrative. Columbus: Ohio State University Press.
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Mackenzie, Compton. 1935. Books To-Day: Novelist Calls a Spade a Spade. Daily Mail, September 19, 4.
Mann, Peter. 1969. The Romantic Novel, a Survey of Reading Habits. London: Mills & Boon.
Regis, Pamela. 2003. A Natural History of the Romance Novel. Philadelphia: University of Pennsylvania Press.
Spillman, Elizabeth K. 2012. The “Managing Female” in the Novels of Georgette Heyer. In New Approaches to Popular Romance Fiction: Critical Essays, ed. Sarah S.G. Frantz and Eric Murphy Selinger, 84–98. Jefferson: McFarland & Co.
The High Adventure. The Sunday Times, September 26, 1926, 9.
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Gillis, S. (2018). Manners, Money, and Marriage: Austen, Heyer, and the Literary Genealogy of the Regency Romance. In: Hopkins, L. (eds) After Austen. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-95894-1_5
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