A Life With Anne
When I was a child I adored the Anne of Green Gables series. I still do. But the height of me reading through the series was between the ages of 7 and 10, when I knew I could read all eight books in the 19 hour drive from Houston to Denver. I was an avid and precocious reader back then. Now I’m just avid. So color me surprised when I tried to introduce my oldest daughter to Anne during her elementary school years and the book fell flat for her. What we discovered, now that she is totally smitten with the series, is that she didn’t understand the appeal in a character who just sounded exactly like herself. For real, people have commented on how much my kid reminds them of Anne her whole life, but this year is the first year my darling girl has truly delighted in it.
I, apparently, had introduced my dear girl to Anne too soon which was mistake number one regarding my favorite auburn haired heroine (and my life for that matter, despite her being called my mini-me all the time, she is not–in fact–very much like me at all). Mistake number two was assuming everyone else I knew was thoroughly acquainted with her. So when we decided to choose Anne of Avonlea as our first San Salvatore Book Club pick, we were shocked to learn that these women we love and admire had actually never read Anne of Green Gables (some, not all, had watched the Megan Fellows series).
Naturally, I began to approach it as I do teaching. Having been raised on Anne’s beloved Miss Stacy being presented as the ideal teacher (which grew into a love of most things Charlotte Mason as I researched homeschool options), my notes always either begin or end with these questions: What did you notice? What did you wonder? What did you discover? What, if anything, did you find good, true, or beautiful about this book? Are there any other stories you’ve heard or know or read that are echoed in this story?
This post, specifically, is on the first two books and the things I noticed reading the Anne books as a woman in my forties instead of as a girl with a wild imagination.
I love how L. M. Montgomery begins both books with an exotic character. In the first, Anne is the exotic, and in the second Mr. Harrison is our foreign, otherworldly character. He is from elsewhere, new to the neighborhood, and comes with an unruly parrot named Ginger, who reminded me of my Uncle’s macaw, Chicken. Just as Anne asked to called Marilla her aunt in the first book, the opening sequences of Anne of Avonlea includes Mr. Harrison mistakenly calling Marilla Anne’s aunt. In Green Gables, Marilla shuts it down as a falsehood, and in Avonlea, Anne does the same. Harrison and Anne’s exchange regarding the cow invasion mirrors Anne’s first meeting with Rachel Lynde. In the first book, Anne is the outsider throwing a temper tantrum, in the second Anne is established as a true citizen of Avonlea as she suffers a newcomer’s temper tantrum. Montgomery’s alluding to her previous work is beautifully done.
As an adult, I also delighted in Harrison’s stab at Anne’s reading “yellow-jacket” novels. As a child I could visualize the novels perfectly because I grew up haunting antique stores and their book corners. Often, as a child, books were not worth my notice unless they were old, dusty, and had a faint smell of vanilla and moth balls (bonus points if there was a lingering odor of pipe tobacco). As a retired bookseller, this portion hit a bit differently and I laughed out loud. Yellow-jacket (“yellowback”) novels were “railway novels.” They were the equivalent of NY Times Bestselling thrillers or romances perched in a kiosk at an airport terminal (I’d say “today” but I really don’t fly much and I don’t know if people buy airport books these days). They were sensational fiction, much like dime novels, brightly colored (usually yellow) with ads on the back to cover the costs of the printing. Often they were simply cheaper reprints of already popular books. They were in direct competition with the “penny dreadfuls” G. K. Chesterton discusses in his essay A Defense of Penny Dreadfuls. Dracula was one such publication.
I also noticed, diving into the series as an adult, how much the Anne series had saturated the corners of my brain. In my late twenties I wrote two books in what is called The Bookshop Hotel series (book three was written just after I turned thirty, books four and five are still sitting unpublished on my computer). I wrote them under duress and my brain was completely fried, grasping at straws. One of my character’s names is Maud Montgomery. A few years ago I was asked by a reader if I had done that on purpose. I can firmly say, no, I did not. But reading now, I see how my mind had pulled something from a dark corner, something it had known and forgotten, and ran with it. L. M. Montgomery (Lucy Maud), called Maud by her friends, was a deeply religious person who functioned as a caretaker for her mentally ill husband. I can see in hindsight why my mind pulled this name out of the abyss during that time, as I thought I was the caretaker to a mentally unstable alcoholic husband myself. (Turns out, I was wrong, I was actually just a narcissist’s favorite toy. Thank God, that part of my life has passed.) The thread that holds so many of these episodic adventures in Avonlea is often the nuggets of wisdom and religious belief that seep through the pages, the empathy and compassion, the search for the divine, the delight in creation and whimsy.
Another strange moment for me was when I read in Anne of Avonlea:
“I think an old, deserted house is such a sad sight,” said Anne dreamily. “It always seems to me to be thinking about its past and mourning for its old-time joys.”
Leave it to my exhausted brain to also personify a house in my Bookshop series. What we read in childhood truly shapes the way we think.
I was amused to discover how much my parenting seemed to mimic Marilla’s and startled to get to know Miss Stacy as an adult reader. I have been homeschooling my children from the beginning. Public school was never going to be an option for us for many reasons, but as I was reading about Anne’s favorite teacher, whom I had read about hundreds of times in second and third grades, I realized that she embodies all my favorite elements of classical British educators during the turn of the century. More specifically, she has so many qualities Charlotte Mason hailed as correct.
Charlotte Mason lived from 1842-1923 and was known as a turn of the century educational reformer. She established the House of Education in Ambleside in the late 1800’s, which focused on teaching classically but with the added emphasis that “children are born persons.” She wrote a Home Education series I have read several times. When I was using Classical Conversations as a co-op opportunity for my oldest, people often told me I was too “Charlotte Mason.” (Classical Conversations is a nationwide neo-classical homeschool organization based out of North Carolina. There are things I love about their curriculum and things I could do without.) When we tried to connect with Charlotte Mason homeschoolers, die-hard AmblesideOnline families, we were often told we were “too neo-classical.” I now see the truth: we were never Classical Conversations people, nor were we Charlotte Mason followers… my aim has always been Miss Stacy. We are Miss Stacy homeschoolers! We do nature studies, literature based learning, Euclidean geometry. I still use McGuffey’s Readers and Susan Wise Bauer material, while adhering to a lot of AmblesideOnline’s schedules. We have always narrated, as advised by Cindy Rollins and Karen Glass. But in all these details, what I chose to use and what I have discarded, I have shaped my entire homeschool culture off a picture in my mind of the perfect educator–Miss Stacy!– and I wasn’t even aware I was doing it.
My daughter and I read Anne of the Island together, and we will resume the rest of the series soon, but took a break to focus on Homer’s Iliad. I am looking forward to seeing how Anne of Windy Poplars measures up to my memories of it being the best in the whole series, and what other things I notice and wonder, as someone who has been noticing and wondering for a much longer time than when I read it last. I’m excited to see what my real life Anne-girl thinks of her literary counterpart as she reads each book hereafter for the first time as well.
(As an Amazon Associate I earn from qualifying purchases.)
Dracula
I walked my fifteen year old through Bram Stoker’s Dracula this October. I thought it would be a fun way for a ninth grader to celebrate Halloween. I also thought it would be a neat one to cover with my newly developing book club: The San Salvatore Book Club, primarily made up of my older mentors in my Baptist church. There were gasps of “Are you sure?” and polite “I think I’ll bow out of that one” to which I promptly said, “Why? It’s such a beautiful Christian allegory!”
Side note: I’ve been listening to the Literary Life Podcast with Angelina Stanford for about two years now, caught up on most the episodes and sometimes use them to supplement my home school when I need to be doing something other than teaching literature. My number one complaint to my husband is, “they act like no one knows this and everyone knows this!” to which I am learning every day that, actually, no Angelina Stanford is right: not everyone knows this. I’m not always claiming to have the correct most perfect reads, but I have been shocked to learn I have been reading differently than mainstream society since childhood. So my Angelina Stanford grumbles have ceased now that I know she is operating from the experience of people genuinely not knowing about the material she shares and I’ve been operating under the experience of not sharing because I thought everyone knew. That being the case, my apologies if some of what I share simply sounds like it came from her podcast. It is unintentional, though, yes I listened to her Dracula episodes back in February to make sure when we discussed it in October, I would not have skipped over anything that I assumed “everyone already knew.”
While I was teaching Dracula, I realized I had never written about Dracula on my blog. My blog began, I think, during the height of the Twilight series and I spent so much time focusing on how we shouldn’t be romanticizing vampires with chests that sparkle and misplaced teenage angst, I forgot to write about the roots of vampire lore and my love for Stoker’s classic work, which is in fact a Christian medieval quest to kill a dragon disguised as a techno-thriller. I also realized that I don’t remember what of my essays, stories, and discussions over the years ended up in my journal or my blog, or was relegated only to bookstore employee discussions as we cleaned the store each night. I have spent years reading C. S. Lewis, G. K. Chesterton, George MacDonald, all the classics, yet my blog is mainly limited to home school material and book reviews sent to me by authors and publishers. Therefore, as I begin to teach high school literature to my oldest, I imagine there is a lot of who we are as readers not documented on Anakalian Whims.
To read Dracula well, I think you need a foundation in Genesis, specifically 1:26-4:16. It’s important to read John 1 where the New Testament is clear that Jesus is the Word. It’s important to know a little bit about Jewish and Mesopotamian mythology regarding Lilith, who was a demon and seductress, the disordered first wife of Adam who feeds on children and relishes in child sacrifice as opposed to feeding and nurturing children from her own body as God designed. “Lilitu” was a “night monster.” In my teaching notes, I recommend re-reading the book of Revelation (so you can remember how the bible used imagery of dragons and oceans) and Beowulf. While reading Dracula, you might need to recall stories like Hansel & Gretel, Bluebeard, Homer’s The Odyssey, Dante’s Divine Comedy, Spenser’s The Faerie Queene, and Shakespeare’s Hamlet. It’s easy to enjoy Stoker’s work without these tales fresh on your mind, but it might also be easy to fall victim to Freudian false interpretations if you’re not reading from the framework that Stoker was actually writing during the Gothic revival of the 1800’s. You’ll be limited to the Victorian techno-thriller, which is still awesome, and see all the wrong “imagery” of suppressed sex, which is inaccurate and not awesome.
You have to keep in mind the quote from Devendra Varma: “During the period when the forces of Christianity were nearly spent and materialism had dislodged spiritual values, the Gothic novelists planned their novels with an awareness of the Deity and the consequences of a just fate. The villains learn in due course that the wages of sin is death.”
With that in mind, we enter a world where the monster in the night is indeed an evil to be vanquished, not to be loved for his sparkly chest and undying devotion to trying to get the girl. Traditionally, the villain in these stories is a symbol for Satan, a metaphor for evil itself. We see these villains portrayed as witches, monsters, vampires, and werewolves, who modern literature is now conflating with handsome boys who just need more hugs. Since the dawn of time, human beings have suffered from an evil that must be conquered, and in Stoker’s Dracula we have a group of Christians on a quest to conquer that evil… the “Son of the Dragon” or “Son of the Devil” named Dracula. The best literature will always remind us that the ultimate battle is between the Dragon (the monster) and the Savior (Jesus), and the Savior has already won. That is exactly what makes Dracula one of the best pieces of literature. The monster is the problem, the monster is not the love interest. As C. S. Lewis said, “Who is the witch? The witch is Lilith. The witch is Circe. Every child is born knowing who the witch is.” As Angelina Stanford said, “The monster is not the wounded person, the monster is the [cause of the] wound.”
I don’t want to repeat all the information already available to the public for free on The Literary Life Podcast, but I do want to share some of my favorite parts of the novel that get my skin all tingly when I read them. I’ll try not to repeat too much of what they focus on in the podcast.
In chapter two, we walk through an octagonal room. In Babylonian culture, the eighth realm is the realm of the gods, a realm where for Christians, false gods, fallen angels, and demons congregate. Eight, therefore, is often considered a number affiliated with the occult. Charlemagne’s Aachen Cathedral, where his tomb resides, is an octagonal shape believed to be a mesh of where God meets the secular as it is a circle with straight lines and points. I ask my students what they think Stoker is trying to tell us by Harker walking through an octagonal room as he enters Dracula’s residence, just after a wild carriage ride that resembles a descent into Hades.
Later in this chapter, Dracula throws a mirror out the window. It is absolutely chilling as the mirror in medieval tradition is a symbol of divine truth. It doesn’t matter how many times I read Dracula, the Adversary both literally and figuratively throwing Divine Truth out the window gives me chills every time.
The setting of Whitby, which has a castle or abbey with an extensive graveyard by the sea sets itself up for so much intense imagery and meaning. We have our Gothic trope intermingled with the real history of the Synod of Whitby, where two traditions were ended. Meanwhile Dracula is asking Harker if a man of England can have two solicitors or more? Stoker is tossing around ideas of can man serve two masters? Who will man choose? Dracula is basically asking, how can I trick England into abandoning God and worshiping me? Whitby Harbour had a history of ships crashing, which will offer up opportunities for both Tempest and Rime of the Ancient Mariner allusions.
Stoker offers layer after layer of symbolism with the names and social positions of the characters as well. The podcast talks extensively about the roles of women in Victorian society and how Stoker played with Lucy being the “Light of the West” and “angel of the house” and Mina being the modern woman (I’m not sure if they covered the meaning of her name which sums up to be “Resolute Protection of the Lord”), but my favorite is actually the role of the men in this allegory. We have a fellowship of knights on a quest, all devoted to one woman (Mina), headed off to kill a dragon (Dracula), interwoven with Aristotle’s classical elements: Abraham Van Helsing, the professor (Merlin/ father figure, fire); Arthur Holmwood, the future Lord Gadalming (nobility whose name means “Of God-helm” in the Surrey Kingdom where there is a village called Thursley, near Hammer Pond and Thor’s Stone… King Arthur/ Thor, thunder, or air); John/ Jack Seward, whose name means “Guardian of the Sea,” is a doctor and scientist (a knight on our quest, water); Jonathan Harker, Mina’s husband whose name means “The Lord has Given” (earth); and our fifth man Quincey Morris, a cowboy from Texas (the fifth element) and (spoiler alert) our “Good boy. Brave boy. […] all man.”
From a book review standpoint, Dracula is hands-down a five star book. Above I shared my favorite pieces of a very complex allegory, but there’s so much more to it covered in the series of episodes of the Literary Life Podcast, and even more in my teaching notes, imagery that covers the Eucharist, Anti-Eucharist, Passover, John the Baptist and Anti-John the Baptist imagery. The story is one of wars to fight devils and ends on All Saint’s Day, celebrating rebirth in Christ and the achievement of Heaven. If you’re not seeing these metaphors for yourself when you read please go listen to the podcast episodes so that you can enjoy this beautiful work of fiction (and truth) for yourself.
(As an Amazon affiliate I earn from qualifying purchases.)
Anakalian Whims 