It's a modern reworking of the great Jane Austen novel Pride And Prejudice by one of America's most entertaining writers Curtis Sittenfeld and had been recommended to me by my incredibly fussy literary editor in January, and by thousands of my online friends.They live in New York - Jane is teaching yoga, Lizzy works as a magazine feature writer.(The younger sisters, Kitty and Lydia, are weight and diet obsessed, while Mary, the middle one, is doing a master's degree in psychology.)It's Lizzy who still captures the reader's imagination.Less beautiful than Jane, but more intelligent and resourceful, she's still the woman's woman, who won't put up with men who fall short of her expectations.When the sisters meet Chip Bingley, a doctor who has been the star of a reality TV show called Eligible, at a barbecue given by their neighbours, Jane is instantly attracted to him, but Lizzy feels snubbed by Chip's friend the supercilious neurosurgeon Fitzwilliam Darcy.Just as in Pride And Prejudice, Lizzy overhears Darcy dismissing the local girls and takes a vehement dislike to him, even though he is handsome and clearly, thanks to his status and wealth, very eligible.Austen's novel was often adapted and dramatized from its early days, but the first full-fledged "P&P" sequel is thought to be "Pemberley Shades" by D. Bonavia-Hunt, published in 1949 and recently brought back into print.
Likewise, for this reason, many Austen scholars approve of Clueless, an adaptation of Emma set in a high school in Beverly Hills, circa 1995, as the character of Cher Horowitz (the film's version of Emma Woodhouse) narrates several scenes, which is seen as the closest approximation of Austen's style in cinema yet done.
It appears impossible to keep Austen at home in Bath or Winchester.
The new book Eligible is something I've been looking forward to for months.
Irvine commented that because cinema and books are different mediums that the best way of resolving this problem was, and is for filmmakers to concentrate on the main strength of cinema, namely its visuality, as cinema can depict what the books can only ask the reader to imagine.
The critic Julianne Pidduck in her essay “Of Windows and Country Walks” argues the former image symbolizes repression and a woman’s lot in Regency England, being trapped in a patriarchal society while the latter image symbolizes freedom.