It’s easy to buy into the classic image of the isolated female author: the eccentric Brontë sisters, wandering the moors; lofty George Eliot, sequestered in her London villa; a melancholic Virginia Woolf, loading her pockets with stones before stepping into the River Ouse. Male writers, on the other hand, often come in pairs: Fitzgerald and Hemingway on their riotous drinking sprees, Wordsworth and Coleridge hiking together through the Lakeland hills, Byron and Shelley encouraging each other’s sexual escapades. As two modern-day writers, we’ve long found it intriguing that legendary male authors are cast as social creatures while their female counterparts are remembered as cloistered figures. We became close friends more than a decade-and-a-half ago when we were taking our first tentative steps on the long path to publication. In the years since, we’ve supported each other every step of the way: commenting on countless drafts, sharing details about literary agents and competition deadlines, and offering a sympathetic ear when the going got tough. Our experiences as struggling young writers suggested to us that history’s best-known female authors would also have welcomed a literary friend, especially, perhaps, during those difficult early stages of their careers. But if these women had enjoyed relationships like ours, we realized that such bonds had rarely made it into the annals of literary history. And so, our interest piqued, we set out to investigate. The case of Jane Austen particularly captured our imagination. She devoted 24 years to writing before securing her first publishing deal—a feat of endurance that put our own experiences into perspective. Could she have forged a friendship with a fellow writer, we wondered, who gave her the strength to keep going? A fleeting reference in a biography provided the first clue to a hidden creative alliance that would eventually take us to old census records, volumes of unpublished diaries, and our discovery of two previously unknown Austen family documents. It turned out that Anne Sharp, a governess to Austen’s niece, and a household playwright, was a dear friend to Austen. Despite the gulf in their social positions, their shared status as amateur writers functioned, for a time, as a kind of leveler. Ignoring the raised eyebrows of Austen’s relatives, the two women enjoyed lengthy conversations, acted together in one of Sharp’s theatricals, and went so far as taking a six-week vacation together. By the time a publisher finally brought out Sense and Sensibility in 1811, Austen had been working on the novel intermittently for 16 years. Even after Austen’s books had become fêted by high society, attracting admirers as powerful as the Prince Regent, she continued to value the insights of this unpublished working woman. When Emma came out in 1815, Austen set aside one of her 12 precious presentation copies for Sharp—the only friend she singled out for such an honor. But Austen continued to seek Sharp’s appraisals, and the governess remained happy to oblige. While sharing her delight in the character of Mr. Knightly, for instance, Sharp admitted that she was not convinced by Jane Fairfax, who dreads the future mapped out for her as a governess. It’s a telling criticism, since Sharp was so well placed to judge. On a later occasion, when Austen asked for feedback on Mansfield Park, Sharp again summed up her thoughts on its strengths and weaknesses. “As you beg me to be perfectly honest,” she concluded, “I confess I prefer P. & P.”—a view shared by many readers over the centuries to come. In 1817, Austen would pen from her sickbed her last ever letter to this “excellent kind friend.” After Austen’s death, Sharp received three deeply personal mementoes: a pair of Austen’s belt clasps, her silver needle, and a lock of her hair. And yet, when, half a century later, the great author’s descendants penned her first full biography, they excluded even a single mention of Sharp. By expunging any trace of this class defying friendship, Austen’s relatives maintained their carefully crafted image of her as a conservative maiden aunt, devoted above all else to kith and kin. This kind of omission is all too common. The important literary friends of Charlotte Brontë, Eliot, and Woolf have all suffered similar fates. The Brontë sisters are rarely envisaged away from their father’s moorland parsonage, but Charlotte in fact ventured far from her Yorkshire home. In the early 1840s, the 25-year-old—encouraged by her old boarding school friend, the future feminist author Mary Taylor—traveled to live and study in Brussels. Taylor, who believed in female financial independence, was certainly a force to be reckoned with. She pushed Brontë to pursue her dreams of publication, and ultimately shaped the radical elements of her friend’s novels such as Jane Eyre and Shirley. Taylor’s important impact on her friend’s career, however, is rarely acknowledged. The studious neglect of Eliot’s literary friendship with Harriet Beecher Stowe is even more surprising given the towering stature of each author. Despite never having the opportunity to meet, the two literary legends maintained an 11-year, transatlantic correspondence that came to an end only with Eliot’s death in 1880. In deeply personal missives, the two discussed their families, scandals that befell them, and, of course, their work—with Eliot’s final novel Daniel Deronda bearing the imprint of Stowe’s whirlwind bestseller, Uncle Tom’s Cabin. But this historically important alliance has been seriously overlooked by biographers. Unlike the literary allies of Austen, Brontë, and Eliot, Katherine Mansfield’s name has frequently been paired with Woolf’s—but for all the wrong reasons. While they regarded each other as important friends, the competitive nature of their relationship has led to the widespread assumption that they were sworn enemies. Woolf’s burning literary drive, it is too often assumed, must have extinguished the possibility of friendship with another ambitious woman. By contrast, all the great male writing partnerships involved large doses of rivalry and yet the likes of Coleridge and Wordsworth, Shelley and Byron, and Hemingway and Fitzgerald are regarded as rambunctious comrades. When the two of us began our research, we were propelled by curiosity about whether our literary heroines had female writer friends at all. But, having soon discovered that behind every great woman was another woman, our focus shifted to the question of why these crucial influences are so little known. We initially wondered whether these writers themselves had contributed to this obscurity by guarding their privacy—an understandable stance in the days when a woman could court controversy simply by attempting to publish her words. But, through the process of uncovering a veritable treasure trove of female alliances, we came to the conclusion that there are also more troubling reasons for the disregard shown towards these crucial relationships. Persistent images of isolation can be used to weaken female power by giving the impression that there are no tried-and-tested models of intellectual collaboration between women. A one-off genius, set apart, is an aberration who poses little threat to centuries of patriarchy—as is the ambitious woman, cast as the enemy of her peers. Especially in today’s uncertain climate—when women are fighting for control over their own bodies, and when their contributions are so often dismissed—we must resist such insidious tactics of divide and rule. The rich history of sisterhood offers a shaft of light during dark times: it is imperative to turn to the example of female forebears—women who always knew that they could best achieve greatness by aligning themselves with other women.
Does Ernest Hemingway really use the fewest adverbs? Do authors write about their own gender more than others’? In his new book, Nabokov’s Favorite Word Is Mauve, Ben Blatt uses statistical analysis to deconstruct popular and classic literature and interrogate truisms about writing fiction. Many of the claims he makes are intriguing. He finds that male writers tend to use the pronoun “he” far more often than “she” in their books, whereas female writers use “he” and “she” almost equally. Blatt also finds that over the last 200 years, writers’ tendency to use qualifiers ("'rather, very, little, pretty, etc.'") in their fiction has decreased substantially. Blatt’s quantitative approach to literature is novel -- and very entertaining -- but the book is undermined by poor copyediting and methodologies that call into question the conclusions Blatt reaches. To a bibliophile, the flaw that jumps out is Blatt’s seeming unfamiliarity with some of the fiction he calls on to support his findings. In Chapter 4, “Write by Example,” Blatt claims that writers’ use of qualifiers has been declining for two centuries. (Between 1900 and 1999, he writes, qualifier use per 10,000 words dropped from more than 200 to a little more than 100.) He cites Jane Austen as prime example of 19th-century qualifier abuse: “Jane Austen is one of the English language’s most celebrated authors but her use of words like very is off the charts.” Blatt’s claim, broadly speaking, is believable, but the excerpt from the novel he cites is terrible evidence to justify that writers of a different era conformed to different stylistic standards regarding qualifiers. The quote he chooses from Emma is Austen’s summary of Harriet’s dialogue: She was very fond of singing. He could sing a little himself. She believed he was very clever, and understood every thing. He had a very fine flock, and, while she was with them, he had been bid more for his wool than any body in the country. She believed every body spoke well of him. His mother and sisters were very fond of him. (Emphasis Blatt’s) Later in the chapter, Blatt quotes Dead Poet’s Society to explain how qualifiers can vitiate speech: ‘“…avoid using the word 'very' because it’s lazy.”’ Or, to put it another way, using “very” too often can make a person sound dumb. In Emma, Harriet Smith is an airhead and her vacancy is crucial to the novel’s plot. Thus, those abundant "verys" in the passage aren't an indication either of Austen's laziness or her conforming to the style conventions of another era; Austen uses them deliberately to telegraph to the reader that Harriet is dense. Blatt’s relying on this passage as an illustration of unconsciously absorbed literary standards suggests either shallow familiarity with his source material or a failure of literary analysis. Blatt is also sometimes careless about the conclusions he draws from his data. For example, when he compares the relative frequency with which male and female writers use the pronouns “he” and “she,” Blatt concludes that, based on his sample, "Of the 50 classic books by men, 44 used he more than she and 6 did the opposite” and "Of the 50 classic books by women, 29 used she more than he and 21 did the opposite." Both of these statements, however, are, at best, misleading, and possibly false, as Blatt identifies two books in his 50-book sample, one by a man and one by a woman, that use "he" and "she" at equal rates. Blatt rounds to the nearest percentage point, so it is possible that what he writes is, strictly speaking, true; there may be barely more appearances of "he" in Lady Chatterley's Lover and barely more appearances of "she" in A Good Man Is Hard to Find, both of which round most closely to equal representation. If this is the case, however, why does Blatt not make this clear in the text? Perhaps more importantly, Nabokov’s Favorite Word did not get the attention it needed from a copy editor. (On page 70, for instance, Blatt titles a list "Most Probable to be Richard Bachman" [Stephen King’s pseudonym], when what he means is "Most Probable to be Robert Galbraith" [J. K. Rowling’s pseudonym]). In a book of statistical analysis especially, Blatt’s lack of care defining criteria for inclusion in his samples (and adhering to those criteria invariably), calls into the question the conclusions he draws from his analysis. For instance, in the aforementioned analysis of gendered pronouns, Blatt waffles about whether his analysis is confined to novels or just to “books.” On page 41, he writes that he drew his data from the "100 novels on [the] classic literature list." This list of “novels,” however, contains several collections of short stories, including A Good Man Is Hard to Find and Winesburg, Ohio. It is unlikely that including short stories would bias the results determining how often writers use “he” and “she;” it may, however, mislead the reader about how writers use gendered pronouns in fiction in general, as opposed to novels in particular. Blatt’s sloppiness in choosing his samples is not limited to this analysis alone. In another case of “Breakout Debut Novels,” he states that to qualify a work had to be “an author’s first novel.” Nevertheless, he includes in his sample Alice McDermott’s second novel, That Night, published in 1987, though McDermott’s first novel was A Bigamist’s Daughter, published in 1982. Blatt’s problem defining criteria for his samples and adhering to them most profoundly undermines his investigation of different writers’ favorite words. Blatt concludes, for example, that Virginia Woolf’s favorite words are “flushing, blotting, mantelpiece;” Marilynne Robinson’s are “soapy, checkers, baptized;” and Lemony Snicket’s are “siblings, orphans, squalor.” Blatt designates only four criteria to determine whether a word is a favorite, one of which is that the word “is not a proper noun.” Blatt does omit all words that are unmistakably proper nouns; you won’t find Chicago, Arkansas, or Sahara among any writer’s favorites. Blatt, however, neglects to exclude words that writers use as proper nouns. This is most obvious in his choice of Virginia Woolf’s favorite word “flushing.” Based on searches performed on Google Books, Woolf only uses “flushing” (not as a proper noun) eight times in the nine novels that constitute Blatt’s Woolf sample. There are, however, 55 occurrences of “Flushing” in Woolf’s novel The Voyage Out, in which Woolf repeatedly refers to the characters Mr. and Mrs. Flushing. To determine a favorite word, Blatt also uses the criterion that the word “must be used in half an author’s books.” Excluding The Voyage Out, which never uses “flushing” as anything other than a character’s name, the word only appears in four of the nine novels that constitute Blatt’s Woolf sample. Thus, Blatt must be counting the erroneous appearances of “Flushing,” used as a proper noun, to arrive at his ranking. Though I cannot prove it with the same certainty, Blatt likely repeats this flaw in several other authors’ favorite word lists. One of Marilynne Robinson’s favorite words, as determined by Blatt, for instance, is “soapy.” In her novel Gilead, “Soapy” is the name of the cat, who is mentioned by name 11 times. Excluding references to the cat, however, Robinson only uses the word “soapy” twice in all the novels in Blatt’s Robinson sample and never in Gilead. It is also possible the same error occurred in the identification of “squalor” as one of Lemony Snicket’s favorite words; there is a supporting character named Esmé Squalor in A Series of Unfortunate Events. Blatt could argue that names should be included in the analysis because a writer handpicks them for her characters. Nevertheless, Blatt either needs to redefine his criteria to make this inclusion clear or exclude from his sample instances where a writer uses common words as proper nouns. Nabokov’s Favorite Word Is Mauve is a thoroughly entertaining romp, but the mistakes -- especially Blatt’s lack of rigor in sticking to the criteria he defines for his samples -- mean one should approach it with several grains of salt. Given the problems of methodology observed, one often can’t put faith in Blatt’s conclusions. It is unfortunate that his intriguing approach is compromised by lackluster execution. His analyses, approached with more rigor, could offer meaningful insight into the way great writers compose.