Charlotte and Our Obsession with The Brontës!

Recently I finished Charlotte, by Martina Devlin. I had been watching carefully for the release of this, as I found her 2022 book Edith, about Edith Sommerville (1858 – 1949) of Sommervillle & Ross and The Irish RM fame to a really fascinating, beautifully written and unexpected read.  Devlin’s ability to bring Sommerville vibrantly and with sensitivity to life was gripping, and the historical context was meticulously researched and ‘felt’ authentic, I trusted her scholarship and I didn’t feel I was going to make a fool of myself repeating anything from the book; it turns out I was right to have such faith, because as well as being a novelist and journalist, Devlin is a serious academic, with a MPhil in Anglo-Irish Literature followed by a PhD in Literary Practice, both from Trinity.

Martina Devlin's Charlotte is a fictional exploration of Charlotte Brontë's life, focusing on her brief marriage to Arthur Bell Nicholls and her honeymoon in Ireland. The novel is narrated through the eyes of Mary Nicholls, Arthur’s second wife, and delves into the complex emotions surrounding Charlotte’s marriage, her tragic early death, and the lingering impact she had on those who loved her. Devlin skilfully weaves a narrative that blurs the lines between history and fiction, offering a unique perspective on a literary icon.

As an accomplished Irish writer with a deep interest in historical fiction, Devlin is known for her ability to bring real historical figures to life and her work often centres on the nuanced interplay between history and storytelling. Her previous works have been recognized for their meticulous research and emotional depth, traits that are vividly present in Charlotte; Devlin's academic background enriches her fiction, allowing her to explore historical narratives with both creativity and scholarly precision, she has a marked ability to inhabit the lives of her characters, giving voice to historical figures in a way that feels both authentic and imaginative: here she employs this technique to create a narrative that is at once a tribute to Charlotte Brontë and a reimagining of her life through the lens of those who knew her.

This is an ambitious novel in that it seeks to offer a new perspective on one of literature's most revered figures; we all feel we know her intimately, though I think 8 times out of 10 we might get which novels she wrote confused with her sisters. The lives and myths of the Brontë family, their existence on the Yorkshire Moors, Haworth Parsonage and every personal item connected to them has been picked over and examined in minute detail; the approach that Devlin takes, of looking at Charlotte through the character of Mary Nicholls and her experience and knowledge is seriously clever and creative. Through Mary, Devlin explores themes of love, loss, and legacy and the novel's strength lies in its ability to humanise the last living Brontë sister, presenting her not just as a literary genius but as a woman grappling with personal challenges and emotions. It is striking that her realness is demonstrated explicitly through the process of being mythologised and dehumanised by those who came to Hill House, Mary’s home, to interview her and pick over any and all of the last remnants of Charlotte’s existence. It is not altogether comfortable to realise that as a huge fan of the Brontës, one who has visited the museum at Haworth, I too have been an accessory to and complicit in this pillage.

Devlin’s portrayal of Charlotte’s marriage is particularly poignant. She depicts the relationship between Charlotte and Arthur as complex and multifaceted, moving beyond the simplistic romanticism or tragedy that often surrounds her life and our understanding of her as perpetual victim/martyr/poor soul without agency. This nuanced portrayal invites readers to reconsider their perceptions of Charlotte Brontë, offering a deeper understanding of her as both a writer and a woman.

One of the novel’s most compelling aspects is its exploration of the mythologisation of Charlotte Brontë. Devlin deftly navigates the ways in which Charlotte’s life and work have been interpreted and reinterpreted over the years, examining the fine line between reality and fiction; this theme is underscored by the novel’s narrative structure, which shifts between different perspectives and time periods, highlighting the subjective nature of storytelling.

In conclusion, Charlotte is a richly textured novel that successfully blends historical fact with creative fiction. It is a must-read for fans of Charlotte Brontë and anyone interested in the complex interplay between history and narrative.

Other Books by Martina Devlin:

One of her particular strengths is her ability to bring historical figures and events to life with vivid detail and emotional depth. In novels such as Ship of Dreams she delves into lesser-known aspects of history, often from a female perspective, exploring the lives of Irish emigrants aboard the Titanic and examining the intersection of personal and historical narratives, to shed light on the experiences of those who have been marginalized or forgotten by history. The Three Wise Men however, is a contemporary, black comedy full of warmth and wit, examining the relationships and tribulations of three women, friends since they played the three kings in the school nativity, 25 years earlier!

A sign of Devlin’s popularity and enduring appeal is how quickly her books move through Secondhand. They don’t come in often as readers tend to keep them and they sell quickly when we do get them.

Literary Style and Characterization:
Devlin’s literary style is characterised by its clarity, sensitivity, and attention to detail. She has a talent for creating immersive, atmospheric settings that transport readers to different times and places, with fully realised, complex characters.

Themes of Identity and Agency:
Devlin’s work often grapples with themes of identity and agency, particularly in the context of historical constraints.

The Three Wise Men  (2000)
Be Careful What You Wish For (2001)
Venus Reborn  (2003)
Temptation  (2004)
The Hollow Heart: The True Story of One Woman’s Desire To Give Live and How It Almost Destroyed Her Own (2006) – non-fiction
Ship of Dreams (2007)
The House Where it Happened (2014)  
About Sisterland (2015) or  About Sisterland (2015)
Edith (2022)
Charlotte (2024)

The Novels of Charlotte Brontë:
Jane Eyre (1847)
Shirley (1849)
Villette (1853)
The Professor (1857)
Emma Brown (2003) (with Clare Boylan)

A Little Bit of Gossip!

Mrs Gaskell became acquainted with Charlotte Brontë through mutual friends and literary circles, and their friendship began in earnest in 1850 when Brontë visited Gaskell in Manchester; this visit marked the start of a close and supportive relationship between the two women. Despite their different personalities, Brontë was more introverted and Gaskell more socially active, they shared a deep mutual respect, and a common understanding of the challenges faced by women writers in a male-dominated society. The two corresponded regularly and met several times over the next few years and this friendship provided Brontë with a trusted confidante, especially during difficult periods in her life; Gaskell’s letters and accounts from this period reveal a deep admiration for Brontë’s literary talents and personal resilience.

The Life of Charlotte Brontë (1857) was written by Gaskell at the request of Brontë’s father, Patrick Brontë, after Charlotte’s death in 1855. The biography was intended to serve as a tribute to her life and work, but it also aimed to protect her reputation. At the time of Brontë’s death, there were rumours and misunderstandings circulating about her life, particularly regarding her unconventional character and the Gothic elements of her novels, which some critics and readers found unsettling.

Driven by her own moralistic and Victorian views, Gaskell sought to portray Charlotte Brontë as a virtuous, suffering woman, whose genius was stifled by the harsh realities of her life and whilst this created a compelling narrative, also distorted the truth. Charlotte's husband, Arthur Bell Nicholls was the curate of Haworth and they married in 1854, described by Gaskell as a serious and somewhat stern man, she implied that although he was deeply devoted to Charlotte, his strong religious views and reserved nature might have contributed to Charlotte’s emotional struggles, particularly after their marriage.

Gaskell’s access to a significant number of Charlotte Brontë’s personal letters, used extensively in writing the biography, were crucial in shaping the narrative of Charlotte’s life; they provided intimate insights into her thoughts, emotions, and experiences and allowed Gaskell to present a vivid and personal portrait of Charlotte, depicting her as a sensitive, passionate, and morally upright woman who faced many personal and professional hardships. The letters also helped Gaskell craft a sympathetic image of Charlotte, emphasizing her struggles and resilience in the face of adversity; however, she chose letters that fitted the narrative she wanted to construct, and sometimes she edited or paraphrased them to emphasise certain points or to align with her own moral and social views. This selective use of the letters contributed to the romanticised and somewhat distorted portrayal of Charlotte that Gaskell presented, downplaying or omitting certain aspects of her life, such as her more rebellious and independent tendencies.

The biography was a commercial success and played a significant role in shaping the public’s perception of Charlotte. However, it was also controversial. Gaskell’s portrayal of some individuals, particularly those in her hometown of Haworth were considered unnecessarily unkind; she depicted the Reverend Patrick Brontë, Charlotte's father, as a stern and tyrannical figure, attributing much of Charlotte's suffering to his harshness, whereas those who knew Patrick Brontë personally viewed him as a kind and supportive father and felt Gaskell's characterisation of Patrick was influenced by her own biases and her need to present Charlotte as a tragic heroine, oppressed by her circumstances.

Charlotte’s brother, Branwell Brontë, was also cast in an extremely negative light. Gaskell highlighted Branwell's alcoholism and irresponsibility, suggesting that his behaviour had a detrimental effect on his sisters. Whilst Branwell's struggles with addiction were real, Gaskell's emphasis on his failures added to the sense of tragedy that pervades the biography, perhaps at the expense of a more balanced portrayal.

The most significant controversy however, arose from Gaskell’s depiction of Charlotte’s former employer, the Reverend William Carus Wilson. Gaskell described Wilson, who ran a school that the Brontë sisters attended, as a cruel and abusive figure who mistreated the students. This portrayal was widely believed to be the basis for Mr. Brocklehurst in Jane Eyre. Wilson and his family were outraged by this depiction, considering it slanderous. Legal action was threatened, and Gaskell was forced to retract these statements in subsequent editions of the biography.

Gaskell did not publicly retract any other parts of her biography, including her portrayals of Charlotte's father and husband, however, the criticism she received highlighted the tension between her role as a biographer and her personal biases. The retraction related to Carus Wilson underscored the ethical complexities of writing biography, particularly when dealing with living subjects or their immediate descendants. Modern scholars often view it with a critical eye, recognising both its literary merits and its flaws as a historical document.