AND NOW, THE WEATHER

I’ve read some early English novels, and… from a modern point of view, they are messy. Plot events are often random. Characters are generally stock archetypes. Realism wasn’t much of a concern; characters get abducted, imprisoned, etc, on a regular basis.

Slowly, from about 1770 onwards, you started to get the ‘novel of manners’ – more realistic stories set in the social world of the time. Jane Austen was absolutely not the first to write books centred on young women coming of age and finding ‘Mr Right’. (Frances Burney and Maria Edgeworth are probably the best remembered of Austen's predecessors.)

And I’ve read some of these novels, and they’re… fine? I’m generalising hugely, but the characters are still very flat. The women are usually perfect, well-behaved, virtuous, etc; the only character flaw they might have is being naïve. Here’s a passage from one of Burney’s novels, describing the heroine:

Her form was elegant, her heart was liberal, her countenance announced the intelligence of her mind, her complexion varied with every emotion of her soul, and her eyes, the heralds of her speech, now beamed with understanding...

It’s a bit ridiculous, isn’t it? And of course it is! Novels were only just starting to solidify as a genre. The idea of making the characters flawed, realistic human beings had barely occurred to anyone. But Austen decided she didn’t want to write flawless protagonists. ‘Pictures of perfection you know make me sick and wicked,’ she once wrote in a letter to her niece.

It would be ludicrous to say that flawed characters or character-driven plots didn’t exist; of course they did. What are Shakespeare’s tragedies except stories driven by their protagonists fatal flaws? What makes Austen so remarkable is that she was pretty much the first person to take those themes from plays and put them into a novel instead. And so we have Emma Woodhouse, who gets the plot rolling by being self-deluding, meddlesome and conceited (I love her so much). We get Lizzy Bennet, who makes snap judgements that confirm her own biases and has to relearn how she sees everyone around her.

And then there’s Austen’s fucking groundbreaking way of filtering the narrative through a character’s perspective.

Austen was the first writer to consistently narrate in third person, while still filtering the narrative through one person’s point of view. If the protagonist makes a mistake, the narration sometimes just… doesn’t correct it. Take this bit of Emma. All the context you need is this: Emma thinks her friend Harriet is in love with someone, and they’ve just received news that the guy’s controlling aunt is dead, which would make it a lot easier for Harriet to marry him. Harriet is, in fact, not in love with said guy, so the news means nothing to her. But the narration says:

Harriet behaved extremely well on the occasion, with great self-command. Whatever she might feel of brighter hope, she betrayed nothing.

Harriet isn’t behaving with great self-command! She isn’t affected by this news at all! But what Emma thinks is reported as if it were fact. We don’t get to know what Emma doesn’t; her opinion controls the narration. I cannot stress how much this had never been done before.

Or take this part of Persuasion, where the protagonist, Anne, encounters the man she was briefly engaged to eight years ago:

Her eye half met Captain Wentworth’s; a bow, a curtsey passed; she heard his voice – he talked to Mary; said all that was right […] the room seemed full – full of persons and voices – but a few minutes ended it.

Look at how closely we are in Anne’s perspective here. She can hardly process what’s going on, so we barely see it. We don’t hear Wentworth’s speech. Time speeds up, the narration becomes a blur, just like the moment is a blur for Anne. No one had done this before!

We all love the Locked Tomb books here, right? You know how closely the narration sticks in each protagonist’s head; how the narration sounds and feels like their voice, how we don’t get to know anything they don’t know? Jane Austen pioneered that technique. What I’m saying is: we don’t get Gideon the Ninth without Pride and Prejudice.

Jane Austen was a phenomenal writer, who came up with entirely new writing techniques that authors still use, hundreds of years later. So many of the techniques we now hold up as ‘good writing’ were things she did for the first time.

Happy 250th birthday, Jane Austen. Thanks for giving us books as we know them.

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I have examined dozens of museum specimens of these geckos, and I haven't found a single one that appeared never to have lost at least some part of its skin or tail and regrown them. So, although it seems extreme, this is something these geckos do readily, and are specially adapted to do. Remarkably, they seem to be able to make a full recovery, even when a huge portion of the skin is lost in this way. They seek shelter in a humid spot, and let the skin regrow—a process that apparently only takes a matter of weeks. And yes, it's the whole dermis, not just the scales. This makes my work as a taxonomist very hard, because counting scales is one of the most reliable ways to tell lizard species apart.