The Darcy Myth

Starred review from August 1, 2023

Literature "trains women to spend their time changing assholes into sensitive men," according to Feder (English and literary arts, Univ. of Denver; Harvester of Hearts: Motherhood Under the Sign of Frankenstein). In this entertaining look at Jane Austen's Pride and Prejudice and its antihero, Mr. Darcy, Feder writes that an English professor can use literary theories to ruin a favorite book--she does not do that here. Instead, she skillfully ties Austen's classic novel to contemporary popular culture and politics through more recent theatrical and TV productions, films, and music (like Dirty Dancing and Twilight). Via Taylor Swift songs, Feder illustrates how contemporary writing mirrors Austen's theme of a character who at first seems arrogant and insulting, then becomes a soulmate. Feder also provides background information on the structure of gothic novels and Regency romances and discusses how Austen's works touch subtly on issues involving access to abortion in the 19th century, melding it into her own comments on the 21st-century political fight for reproductive justice. VERDICT Feder's study is a readable, entertaining contemporary analysis that is suitable for students new to Austen's work and for discussion groups looking for a fresh approach to many readers' favorite novel.--Joyce Sparrow

Copyright 2023 Library Journal, LLC Used with permission.

September 11, 2023
This provocative if only intermittently convincing study from Feder (Harvester of Hearts), an English professor at the University of Denver, deconstructs the “myth of the haughty crush turned romantic hero,” as epitomized by Mr. Darcy from Jane Austen’s Pride and Prejudice. Feder suggests reading the novel as Gothic horror, a genre Austen “totally loved,” and contends that she created Darcy as a “kind of monster” whose dark underside (“He pays a dangerous rake to marry our heroine’s sister so that Darcy can marry Lizzy without tarnishing his reputation”) has been largely ignored by conventional readings of the novel as a romance. Feder makes a persuasive case that Wickham is a “serial predator” and Darcy a jerk who “teaches us to excuse bad behavior and seek out people... who treat us like crap”; she overreaches, however, in condemning Darcy for “chaining Lydia to her predator,” downplaying Lydia’s agency in choosing to run away with Wickham. Additionally, the concluding sections detailing the disappointment of Feder’s acquaintances who have “dated Darcys” feels out of place. This doesn’t always persuade, but it’s sure to spark debate.