Whilst Jane is the sole narrator, Bronte has chosen for Jane to address the reader several times, ‘Reader, I married him,’ which acknowledges the fact that the text was written to be read by people and is a book. It is a form of alienation, in that it reminds us we’re reading a novel, but nonetheless, it doesn’t seemingly threaten the realistic feeling of the text.
Fforde has chosen to write ‘The Eyre Affair’ in a typical Post-Modern style. His work indulges in the loss of the real, presenting us with imaginative aspects to his specially conjured world in which things that are impossible in reality are part of everyday life for his characters (e.g. dodos not being extinct, but being pets). The alternative 1985 in which Fforde sets this novel has touches of reality to enable the reader to relate to some aspects of his world, though often these are accentuated or warped in some way. For example, in his alternative 1985, the Crimean War is still raging. He uses one of Baudrillard’s signs whereby he misrepresents/distorts the reality behind his novel.
Bronte chose to set ‘Jane Eyre’ in a specially created part of England. It has been put forward by some critics that the novel takes place in northern England, around Yorkshire. The exact location is kept vague though, through references to ‘-shire.’ Fforde, however, set ‘The Eyre Affair’ in London and Swindon - two well-known locations - but creates locations within these (e.g. the Spec-Ops offices). In this way, both authors can manipulate their setting to accommodate their plot and characters, instead of using a concrete-set well known place which would restrict them. Yet, they can add realistic touches or references to real locations if they so wish, in order to either give hints of the supposed geographical placement of their setting, or make their worlds more believable. ’ Although Bronte creates a fictitious world for Jane, unlike Fforde, she keeps the novel very realistic so that the reader comes to believe that Jane is a real person.
Both characters are made to show their will, virtue and determination as they move away from their family and also, in Jane’s case, the man she loves, which is shown when she says, ‘May you never appeal to heaven in prayers so hopeless and so agonized as in that hour left my lips; for never may you, like me, dread to be the instrument of evil to what you wholly love,’ to the reader. The courage she displays in leaving Mr. Rochester is remarkable, ‘I am no bird; and no net ensnares me; I am a free human being with an independent will, which I now exert to leave you,’ and is a true representation of the depth of her strong-minded personality. Even though she sacrifices everything to take the moral high road, Jane eventually comes out on top and is happy. Similarly, Fforde plans for Thursday to reach happiness as a result of her move, although in her case she returns to an old haunt plagued with painful memories. Perhaps this courageous and moral display in both cases formulates part of their moral message.
Jasper Fforde, unusually, has chosen to use a female as his main character in a detective-type novel. This gives the impression that Thursday has not been created as an outlet for his perceptions, moreover to add a quirky edge to the narrative and experience Fforde’s specially created surreal world. It seems to me as though in Fforde’s novel, the emphasis is on the impossible aspects of his matrix, and playing with the concept of writing a novel, not so much on exploring social restraints on women (although there are aspects of the novel which undoubtedly reflect this). I feel that he wants to encourage the reader to imagine the impossible and throw off the restraints that reality has, not endorse realism like Bronte.
Fforde limits deeply emotional accounts to Thursday’s meetings and thoughts of Landen, ‘I never mentioned Landen to anyone. It was personal,’ and the situation of her dead brother, ‘Landen lost a leg, but he came home. My brother was still out there.’ As regards her brother, it is obvious that Fforde wants us to know that Thursday is still very much affected by his death, but tries not to let her emotional side prevail. With Landen, however, it is presented as a sore subject for Thursday. Bronte, on the other hand, persistently gives the reader a sense of how Jane feels through her diction when expressing her perceptions, not only of Rochester, but of other characters and even the weather, for example, how Mrs. Reed ‘regretted to be under the necessity of keeping [Jane] at a distance.’
A mixing of genres is a typical Post-Modern trait, and ‘The Eyre Affair’ samples science fiction and detective novel narratives. Roz Kaveney, of the Amazon Editorial Review, described the genre as ‘pirouetting on the boundaries between sci-fi, the crime thriller and intertextual whimsy.’ Fforde’s principle influences seem to be the "affairs" written by Sir Arthur Conan Doyle, and of course, ‘Jane Eyre.’ Jasper Fforde imbues Thursday Next with a detective approach in order for her to be able to solve mysteries and be fearless in taking on criminal masterminds. This genre involves characters who are very much inclined to act on intuition and try to figure things and people out when evidence and leads are lacking. The science fiction influence enables Fforde to push the reader’s imaginations to new limits as he introduces gadgets and people who perform the impossible (such as the ‘Prose Portal’ - which lets the characters into works of literature - or Hades being able to turn himself invisible). Plus, with science fiction novels, the reader accepts the surreal aspects without question because they are the basis of the plot, which is applicable to ‘The Eyre Affair.’
As aforementioned, ‘Jane Eyre’, being a 19th century novel, sticks rigidly to realism because when it was written, experimenting with the concept of writing a novel was unthought-of. However within her novel of both a romantic and gothic genre, Bronte uses fantastic elements in a more realistic narrative structure by making references to fairy tales, prophetic dreams, mythic imagery and intense plot twists. Examples of these are Jane’s reference to Betty’s ‘Gytrash’ story, when Jane is told to ‘flee temptation’ by the visage of her mother in a dream. Nineteenth century intellectual life in Britain was affected by a movement known as Emotional Moral Philosophy, in which it was encouraged to push the boundaries of reality, and base ideas more on thought and emotion. Perhaps this influenced Bronte when she created these aspects of the novel.
Similarly, ‘The Eyre Affair’ contains aspects of the fantasy genre (with references to werewolves for example), but also elements of a romantic genre too. Fforde also includes aspects of alternate history (the Crimea), police procedural, horror and literary criticism. His novel has been referred to as ‘satire, thriller, whodunit, game, puzzle, joke, post-modern prank and tilt-a-whirl,’ by a 21st century critic**. That said, it is a bizarre culmination of countless genres. It seems to me as though Fforde picks and mixes genres at will to accentuate moods and events that occur in the novel. He ‘plays with the nature of reading and book writing which creates a sort of looping metastory’ in the words of another 21st century critic***.
Fforde also delves into Post-Modernism as he displays intertextual elements when he refers to other literary works, for example ‘Jane Eyre’ and ‘Chuzzlewit.’ He comes to the aid of readers, who haven’t read ‘Jane Eyre’ by having Thursday summarize the plot for her colleague Cable Bowden, who claims to have ‘studied Wuthering Heights and Villette instead,’ on their way to the scene of a crime. He refers to famous works of literature because in the alternative 1985 he has created, there is a huge emphasis on literature - his society is fanatical about it, ‘Since 1980 the big criminal gangs had moved in on the lucrative literacy market.’ These references also bridge the gap between our reality and his parallel world by adding yet another realistic feature, yet perhaps the passion for literature is a satirical take on our generally unenthusiastic society, which does not place such a great value on literature.
Bronte and Fforde present Jane and Thursday as heroes - Jane for getting through everything that stood in her path, and Thursday for being the one to eradicate Hades. In effect, it is their strength of mind and character that enables them to reach their goals. They are both shown to be immensely determined role models. Fforde chose for Thursday’s strength of mind to save her life, in that Hades was unable to control her and persuade her to hand over her gun, ‘Hades reached out his hand and I felt a strong impulse to give him my weapon. But I had turned him down before, when he was using more persuasive methods.’ Fforde seemingly did this to differentiate Thursday from the other characters and accentuate these traits in her. It is the main reason that she is Spec-Ops and Goliath Corporation’s front woman - she is the only one who can resist Hades’ manipulation, ‘You are strong, Thursday. Avarice works on most people.’ I think Fforde also created Thursday with these characteristics in order for her to gain respect from Hades himself, ‘Acheron smiled admiringly.’ Jane also saves Mr. Rochester’s life when his mad wife sets his room on fire while he sleeps. Both Jane and Thursday end up in these dangerous situations because of their brave temperaments and their knack of acting on impulse.
Neither character falls victim to the influences because of the streak of stubborn independence that Bronte and Fforde have given them. Bronte shows us that Jane does not allow herself to be swayed by authority or power, and the same could be said for Thursday, ‘Stuff Braxton. Stuff Goliath and Jack Schitt. Some things are more important than rules and regulations.’ Fforde has given Thursday enough faith in herself that she takes risks and rebels against orders as she knows that whatever she does will be valid and successful. Plus, she can justify her actions and cope with the consequences. As it seems to be that it is both of our narrators against the world, and they choose to confide in us as the readers, we do feel involved and thus are rooting for our heroes.
In the feminist society of the 21st century, readers are attracted by the fact that both the main characters make their own choices. Jane seeks liberty, ‘for liberty I gasped,’ and so does Thursday, with a touch of vindication thrown in, ‘at least I could look forward to being vindicated.’ 'Jane Eyre' is seemingly an account of Jane’s crusade for freedom, maturity and independence. Yet, both women end up married which suggests that it is, moreover, freedom from oppressive society they crave – its low expectations and social barriers. Both women turn down the men they marry initially for moral reasons, and then relocate in order to sever any ties, but end up seeking out and finally marrying their ex-lovers. As far as Rochester is concerned, ‘The servants say they never saw anybody so much in love as he was… well, he would marry her.’
Bronte chooses to present Jane as someone who is excluded right from the outset of the novel. It seems as though through her experiences of isolation, she is comfortable being alone – this is one of the aspects of Jane’s life that Bronte uses to create this independent streak in her, ‘I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself.’ Thursday isn’t so much excluded, as lonely. Fforde uses the aspect of her brother’s death and her romantic entanglement with Landen to give her an aspect of emotional angst and vulnerability as a contrast to her seemingly strong and confident personality. The fact that she keeps everything she thinks and feels from her friends and colleagues is self-inflicted isolation.
There are several recurring themes that Bronte uses, e.g. relations between genders and social classes. Rochester is of a different social standing and is worldlier than Jane when they first meet, but the scales tip more in Jane’s favour by the end of the novel after she inherits a large sum of money and becomes more emotionally robust. This is recognised by Rochester, ‘My bride is here… because my equal is here, and my likeness.’ With the loss of Rochester’s manor and physical capabilities, Jane is ultimately the one with options and independence, ‘He is now helpless indeed – blind and a cripple.’
Fforde manipulates the plot of ‘The Eyre Affair’ so that Thursday gains respect from powerful entities and builds on her social position throughout the novel. By making her the crucial weapon against Hades, Fforde gradually elevates Thursday’s status in the male dominated society he has created, as the deities of Spec-Ops and Goliath rely on her.
To conclude, the independent and headstrong streaks in both Thursday and Jane’s narratives are displayed in their perceptions of life and their narrative styles. The techniques and devices which Bronte and Fforde employ in order to establish and use these traits contribute greatly to the narrative but essentially culminate in the engaging portrayal of these two characters, with emphasis on their strong personalities and the moral message of the novels.
------------------------------------------------------------------------------------------------------------------
[2971 words]
------------------------------------------------------------------------------------------------------------------
*York Notes on Jane Eyre [Longman Literature Guides – Barry Knight]
**
*** [Rebekah]
BIBLIOGRAPHY
Websites
Books
York Notes on Jane Eyre – Longman Literature Guides by Barry Knight