Here are 100 books that Ennui fans have personally recommended if you like
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I have long been struck, as a learner of French at school and later a university professor of French, by how much English borrows from French language and culture. Imagine English without naïvetéand caprice. You might say it would lose its raison d’être…My first book was the history of a single French phrase, the je-ne-sais-quoi, which names a ‘certain something’ in people or things that we struggle to explain.Working on that phrase alerted me to the role that French words, and foreign words more generally, play in English. The books on this list helped me to explore this topic—and more besides—as I was writing Émigrés.
This is cultural history with a difference and of a difference. It teaches you a lot about the reputation for fashionable culture that France enjoyed for centuries all over the world and continues to enjoy to this day. How much of all that is already packed into the book’s subtitle! The rest of the book is just as accessible and lively and unwilling ever to take itself too seriously.
What makes fashionistas willing to pay a small fortune for a particular designer accessory? Why does a special occasion only become really special when a champagne cork pops? Why are diamonds the status symbol gemstone, instantly signifying wealth, power, and even emotional commitment? Writing with great elan, one of the foremost authorities on seventeenth-century French culture provides the answer to these and other fascinating questions in her account of how, at one glittering moment in history, the French under Louis XIV set the standards of sophistication, style, and glamour that still rule our lives today. Joan DeJean takes us back…
I have long been struck, as a learner of French at school and later a university professor of French, by how much English borrows from French language and culture. Imagine English without naïvetéand caprice. You might say it would lose its raison d’être…My first book was the history of a single French phrase, the je-ne-sais-quoi, which names a ‘certain something’ in people or things that we struggle to explain.Working on that phrase alerted me to the role that French words, and foreign words more generally, play in English. The books on this list helped me to explore this topic—and more besides—as I was writing Émigrés.
This is a sparklingly funny play. I love its contemporary freshness, its fleetness of foot, and its irreverence. It satirizes the fashion for all things French among London’s social climbers. It sugars the pill of all that satire by bringing a fast-paced plot to a comic ending of marriage and reconciliation. It taught me that writers in seventeenth-century England like the play’s author, John Dryden, were importing words and ideas from France as they sought to trace a middle way between a servile mimicry of French culture and an insular rejection of it.
Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues…
I have long been struck, as a learner of French at school and later a university professor of French, by how much English borrows from French language and culture. Imagine English without naïvetéand caprice. You might say it would lose its raison d’être…My first book was the history of a single French phrase, the je-ne-sais-quoi, which names a ‘certain something’ in people or things that we struggle to explain.Working on that phrase alerted me to the role that French words, and foreign words more generally, play in English. The books on this list helped me to explore this topic—and more besides—as I was writing Émigrés.
This is a brilliant essay in literary criticism. It traces English ambivalence towards French language and culture in the centuries that followed the Norman Conquest. It does so by delving into major literary texts—by Chaucer and Shakespeare among others—that explore that ambivalence for what it is: the symptom of a fetish. I like the way Williams writes and I find her inspiring in her desire to remain faithful to the complexity of the texts she studies and their attitudes.
What was the impact of the Norman Conquest on the culture of medieval and early modern England? Deanne Williams answers this question by contending that not only French language and literature, but the idea of Frenchness itself, produced England's literary and cultural identity. Examining a variety of English representations of, and responses to, France and 'the French' in the work of Chaucer, Caxton, Skelton, Shakespeare and others, this book shows how English literature emerged out of a simultaneous engagement with, and resistance to, the pervasive presence of French language and culture in England that was the legacy of the Norman…
I have long been struck, as a learner of French at school and later a university professor of French, by how much English borrows from French language and culture. Imagine English without naïvetéand caprice. You might say it would lose its raison d’être…My first book was the history of a single French phrase, the je-ne-sais-quoi, which names a ‘certain something’ in people or things that we struggle to explain.Working on that phrase alerted me to the role that French words, and foreign words more generally, play in English. The books on this list helped me to explore this topic—and more besides—as I was writing Émigrés.
This is a bittersweet comedy of manners in which John le Carré ventures way beyond the spy novels for which he is more famous. For lovers of spy novels—and I am one such—there is much here to savour. Le Carré draws upon the French concept of the naïve – as paired with the sentimental by the German essayist Friedrich Schiller—to inform and enliven the telling of a tale about a love triangle in middle England. Underlying the comic idiom of the novel is an acid dissection of the causes of British failure to be a part of Europe and to help lead Europe out of her darkness. A tale, perhaps, for our times.
From the New York Times bestselling author of Tinker, Tailor, Soldier, Spy; The Spy Who Came in from the Cold; and The Night Manager, now a television series starring Tom Hiddleston.
"I have visited bohemia and got away unscathed."
Aldo Cassidy is an entrepreneurial genius. At thirty-nine, he dominates the baby pram market and rewards his success with a custom Bentley. But Aldo's bourgeois life is upended by a chance encounter with Shamus-a charismatic writer whose first and only novel blazoned across the firmament twenty years earlier. The two develop a passionate friendship that draws Aldo-smitten also with his new…
The fundamental connection between law and economics rules most of the world. This is especially true in romantic relationships, whether the parties realize it or not. Being “Janites” ourselves, in addition to our day jobs of family law professor and economic consultant, we could not help but read Jane Austen and be blown away by her genius understanding of both law and economics. Moreover, the principles she draws out that govern much of her characters’ decision-making are just as applicable today in the world of online dating and Tinder. We hope our book enlightens you on law and economics in new, surprising, and romantic ways.
Doody offers a comprehensive study of the names of people and places – real and imaginary – in Austen’s fiction.
Illustrating how Austen’s creative choices reveal her virtuosic talent for riddles and puns, Doody also picks up deep stories from English history.
Showing how Austen names signal class tensions and regional, ethnic, and religious differences, readers gain understandings of Austen’s literary techniques and cultural commentary.
In Jane Austen's works, a name is never just a name. In fact, the names Austen gives her characters and places are as rich in subtle meaning as her prose itself. Wiltshire, for example, the home county of Catherine Morland in Northanger Abbey, is a clue that this heroine is not as stupid as she seems: according to legend, cunning Wiltshire residents caught hiding contraband in a pond capitalized on a reputation for ignorance by claiming they were digging up a "big cheese" - the moon's reflection on the water's surface. It worked. In Jane Austen's Names, Margaret Doody offers…
My interest in ghosts is partly due to growing up in York, which is one of the most haunted cities in the UK. In that city, I think that pretty much every pub has its own ghost, and if you’re unlucky (or lucky) enough, you stand a good chance of spotting long-dead Roman soldiers, plague victims, or ghostly dogs as you walk the streets. This atmosphere has seeped into my fiction; I have written two novels of the supernatural and am currently working on a third. I’ve also made a study of the grim and gothic in fiction; my Ph.D. thesis was largely about vampires (especially Dracula) but also strayed into other monsters and uncanny stories over the past two centuries.
This book parodies the gothic novels popular in Jane Austen’s time. Ann Radcliffe, whose novel Udolpho features prominently, was the queen of this genre. Her stories boast chilling elements like murder plots, the Spanish Inquisition, skeletons, evil nuns, and more.
The heroine of this book, Catherine Morland, enjoys this kind of writing a bit too much; mistaking real life for fiction leads her to see murder and intrigue where there is none. It’s a good warning for us imaginative types not to let fantasy run away with us. (There’s no harm in enjoying a spooky tale within reason, though; Henry Tilney, the novel’s level-headed hero, has read Udolpho and thoroughly enjoyed it.)
Introduction and Notes by David Blair, University of Kent.
Northanger Abbey tells the story of a young girl, Catherine Morland who leaves her sheltered, rural home to enter the busy, sophisticated world of Bath in the late 1790s. Austen observes with insight and humour the interaction between Catherine and the various characters whom she meets there, and tracks her growing understanding of the world about her.
In this, her first full-length novel, Austen also fixes her sharp, ironic gaze on other kinds of contemporary novel, especially the Gothic school made famous by Ann Radcliffe. Catherine's reading becomes intertwined with her…
Internationally recognized mind-body science and design and health pioneer, Esther Sternberg M.D. is Research Director, Andrew Weil Center for Integrative Medicine, Inaugural Andrew Weil Chair for Research in Integrative Medicine, Professor of Medicine, Psychology, Architecture, Planning & Landscape Architecture, Founding Director, University of Arizona Institute on Place, Wellbeing & Performance, and Associate Director (Research), Innovations in Healthy Aging. Formerly a National Institutes of Health Senior Scientist and Section Chief, she received the U.S. Federal Government’s highest awards, authored over 235 scholarly articles, and two engaging and popular science-for-the-lay-public books: The Balance Within chronicling mind-body science underpinning stress and illness and belief and wellness, and Healing Spaces, which helped ignite the 21st-century design and health movement.
I love Jane Austen’s novels – the fine detail with which she paints characters based on everyday life, as she described it in a letter to her nephew James Edward Austen-Leigh: “… the little bit (two inches wide) of ivory on which I work with so fine a brush, as produces little effect after much labour...” Sadly, Austen died at age 41, in the prime of her life, and the peak of her writing skills. Her last novel was unfinished. Most biographers surmise that she died of Addison’s disease – an autoimmune disease in which the immune system attacks the patient’s adrenal glands, slowly sapping their energy for lack of the stress hormone cortisol. Ironically, the illness can be brought on or exacerbated by chronic stress, which certainly towards the end of her life Jane Austen experienced in spades.
When her father died, Jane Austen, being a woman, did not…
Who was the real Jane Austen? Overturning the traditional portrait of the author as conventional and genteel, bestseller Paula Byrne's landmark biography reveals the real woman behind the books.
In this new biography, bestselling author Paula Byrne (author of Perdita, Mad World) explores the forces that shaped the interior life of Britain's most beloved novelist: her father's religious faith, her mother's aristocratic pedigree, her eldest brother's adoption, her other brothers' naval and military experiences, her relatives in the East and West Indies, her cousin who lived through the trauma of the French Revolution, the family's amateur theatricals, the female novelists…
All my life I loved her novels and often reread them, but in secret. My friends—in the 1960s—scoffed at her plots. When I began my career as a classicist, I went on rereading her novels when I should've been reading academic articles. Then by a stroke of luck, I ran across a sentence in one of her letters that alluded to an obscure area of classical literature. This changed reading her novels from a guilty pleasure to scholarly research. I questioned why she and members of her family concealed her learning. The reason shocked me. The people of her day believed that women who knew Latin and Greek were sexually frigid, sexually promiscuous, man-crazy lesbians.
Figes argues that although women novelists did not directly challenge the rules of a patriarchal society, they challenged its assumptions by protesting the restrictions on women’s lives and severely criticizing the clergymen, enablers of the patriarchy. My favorite section of the book is her interpretation of the Gothic novels, which she calls the female equivalent of picaresque novels. Women, she points out, were not permitted to roam the world like Tom Jones, having adventures. Instead, these novels presented women, who, through no fault of their own, are imprisoned by evil men. Their adventures, as they find their way to safety in foreign lands, prove their courage and intelligence.
I’m an historian who writes novels, and an avid reader of historical murder mysteries—especially ones whose characters are affected by social, religious, and political change. Lately, I’ve been fascinated by the breakup of rural British estates between 1880 and 1925, when, in a single generation, the amount of British land owned by the aristocracy fell from 66% to perhaps 15%. I thought it might be interesting to set a “country house” mystery on one of the failing estates, with a narrator influenced by the other great change of the period: from horses to automobiles. “Interesting” was an understatement; writing it was eye-opening.
Jane and the Unpleasantness at Scargrave Manoris the first of Stephanie Barron’s 14 Jane Austen mysteries, based on Austen’s “discovered” diaries about her adventures as a sleuth. The series’ witty tone is true to Austen’s, and portrayals of Austen’s family are based in fact. In this opening volume, Jane is visiting a friend “of more fashion than means” newly married a middle aged earl—who dies, poisoned, after a celebratory party. His will divides his estate between his countess and an heir known to be too fond of her, making the pair obvious suspects. As Jane works to prove her friend innocent, the descriptions of aristocratic Regency life, dress, manners, and law are superb.
For everyone who loves Jane Austen...a marvelously entertaining new series that turns the incomparable author into an extraordinary sleuth!
On a visit to the estate of her friend, the young and beautiful Isobel Payne, Countess of Scargrave, Jane bears witness to a tragedy. Isobel's husband—a gentleman of mature years—is felled by a mysterious and agonizing ailment. The Earl's death seems a cruel blow of fate for the newly married Isobel. Yet the bereaved widow soon finds that it's only the beginning of her misfortune...as she receives a sinister missive accusing her and the Earl's nephew of adultery—and murder. Desperately afraid…
I've been hooked on Jane Austen ever since my mom took me to see the movie Pride and Prejudice in theaters.After watching the movie, I bought all of her books and devoured them. I still wanted more, but what do you do when your favorite author has been dead for over 200 years? Well, you turn to fanfiction! After reading numerous sequels, twists, and retellings of my favorite novels, I began writing my own stories. As a stay-at-home mom of three kids, I've been blessed to be able to pursue my passion for storytelling while raising a family. Jane Austen continues to be my primary source of inspiration for my historical and contemporary romances.
This was a modern-day retelling of Persuasion. I’ll admit, Persuasion has long been my least favorite Jane Austen novel. But Staci Hart finally made me fall in love with it. The story is told in first person, alternating between the perspectives of the hero and heroine, which made me feel that I was given a glimpse into their minds and hearts, something that the original novel failed to do. The added complication of the hero’s father being terminally ill really added depth and emotion to the story. I was completely wrecked—in the best way, of course!—by the end of this book. Read it with a box of tissues!
He’s home for his father, not me, that much is painfully clear. But I barely recognize the man he’s become, though I can still see a glimmer of the boy who asked me to be his forever, the boy I walked away from when I was young and afraid.
Maybe if he’d come home under better circumstances, he could speak to me without anger in his voice. Maybe if I’d said yes all those years ago, he’d look at me without the weight of rejection in his…
