Local News Story About Me

This came from the Union County Weekly – dated July 1, 2011
Fairy tales do exist
Posted by CW Editor on July 1, 2011 in News | 0 Comment
Union County teacher writes a book, retires after 40 years

by Tobiah Clark

As challenge from her English class inspired one retiring Union County teacher to pick up a pen and write a book. The students dared Regina Jeffers to write another side of Jane Austen’s “Pride and Prejudice,” asserting the beloved teacher was certainly knowledgeable and passionate enough about this literary work.

Jeffers retired from teaching in Union County this year, leaving her more time to write. Working as a teacher for more than 40 years, she received various awards for her excellence, including the Time Warner Cable Star Teacher Award which recognizes educators for their ability to positively influence their students. Winners of this award comes from students’ votes. Each high school chooses a top student, who then names the teacher that most influenced him. Jeffers won the award for Union County, as well as a similar award in an Ohio school district.

Her book was originally published for this class, as a tribute to the students whose inspiration made the project a reality. The self-published book began to sell on Amazon, gaining the notice of a publisher. Ulysses Press contacted Jeffers with an offer to publish and sell her book.

To any writer, this is the quintessential fairy tale. Jeffers described her life as “an ordinary life with extraordinary experiences.” She went on to say that she has a knack for being in the right place at the right time, followed by a list of famous people, places, and rare circumstances that sound like they could be part of Forest Gump. She was also a student at Marshall University when the plane crashed in 1970, killing the football team. Her son was born prematurely, and Jeffers nearly gave birth to him in the middle of a class.

A love of reading

Jeffers first read Jane Austen at age 12, falling immediately in love with Mr. Darcy. Her love for Austen followed her around throughout her life, and now she proudly calls herself a “Janeite.” According to Jeffers, a Janeite devours anything and everything that is Austen. Jeffers holds a card to prove her membership in the Jane Austen Club of North America. This love of Austen has expanded beyond just reading, teaching, and swallowing Austen’s books whole. Jeffers writes fictional accounts of this Regency period, telling more stories of Austen’s beloved characters.

There is a niche for this romantic fiction, and stories are spun about these times and characters to capture the hearts of the true romantics. Jeffers is a true romantic herself, capturing an audience of which she also is a participatory member. One of the first lines from her website reads, “For those of us who love historical romance, we rejoice in proving that ignoring propriety is so much more fulfilling than meeting the antiquated precepts of love and marriage. We celebrate filial rebellion and independence.”

According to Jeffers, in the Regency times, “women lacked options.” Austen wrote about women whose only financial support laid within the men in her life, which was first, the father and then the husband. As a feminist, these issues Austen first wrote about are still issues on the front battle line of this modern age.

Jeffers is overjoyed at her retirement. According to her, “40 years was enough.” Writing furiously, she sent off yet another manuscript this month, while yet another collection of stories will also be published this month. Her latest work, “The Road to Pemberly,” is an anthology of Pride and Prejudice stories, featuring the beloved Austen characters. She has also begun a series in which the characters are her own, thus moving away from Jane Austen to an extent. Jeffers said she is content to just write now that she is no longer teaching.

“If it all ends tomorrow, it will have been a full ride,” Jeffers said, laughing heartily.

And so far, her life has been a ride that mirrors the fairy tale that so many of us long for. Her “ordinary life with its extraordinary experiences” has touched the lives of many students, fulfilled the lives of her family, and enhanced the lives of her many avid readers. As she enjoys her first year of retirement from a long teaching career, looking forward to writing and spending some quality time with her family, it seems as if her fairy tale truly has a happy ending.

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Meet Regina Jeffers – Interview Found on the Book Rat Website

SUNDAY, JUNE 26, 2011
Interview with Regina Jeffers!
Today brings us both our last interview and (later today) our last giveaways of this year’s Jane in June, and they both come from the lovely Regina Jeffers (who already came out to play with us in the Austen Authors interviews). Hope you enjoy!
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Why Jane? What drew you to Jane initially, and what compelled you to try your hand at her stories?

My mother introduced me to Pride and Prejudice when I was twelve. I, instantly, fell madly in love with Mr. Darcy, not because he was a dashing hero, but because he accepted a woman whose figure was “light and pleasing” and who possessed an “easy playfulness.” At twelve, I was head and shoulders taller than everyone in my family, and although “tolerable,” I “had hardly a good feature” in my face. If Elizabeth Bennet could find such a suitable match, my Cinderella syndrome declared hope for me also.

As a teacher, I regularly chose to discuss both Pride and Prejudice and Persuasion. I love those two Austen works best, and my enthusiasm never failed to infect my students. (I fear that I was not so successful with Dickens’ Great Expectations, however. LOL!!!) With one class, the call came from my students for me to write my own version of Austen’s timeless classic. So, I retold Pride and Prejudice from Mr. Darcy’s point of view. I self published the work and thought no more of it, but the piece rose to #8 on the Amazon sales list, and Ulysses Press contacted me regarding the publication of Darcy’s Passions. The rest is history.

What are some of the difficulties in writing a story using established (and beloved) material? And is anything sacred, or is it all fair game?
Henry Austen’s posthumous publication of his sister’s biography gave rise to the Jane Austen myth. As such, many have developed their own opinions of what is acceptable and unacceptable in creating sequels and adaptations of Austen’s classics. The Jane Austen phenomenon is everywhere: dolls, guidebooks, puzzles, stationery, mugs, music, movies, books, the Internet, fan clubs, etc. Her novels serve as a model for updating other classics. Austen’s unforgettable characters, her strong irony, and her rigorous social critique are present in today’s literature.

Needless to say, some hard core Janeites believe that the modern adaptations have resulted in the loss of Austen’s complex social and political commentary, but I counter that they speak to similar issues in current day society. After all, objectivity, duty, and self-knowledge are universal issues. The modern adaptations tend to focus on the themes of marriage, the generation gap, and social pressure. These, too, are universal.

Although I accept that Darcy and Elizabeth or Anne and Wentworth would enjoy conjugal relations, I do not need to know every detail of their joining. I prefer to quietly close the door and to use my imagination. That is a personal preference for my Austen pieces. I have written contemporary romance and Regency pieces which are more specific. Of course, I have been criticized, as have been most modern Austen writers, for acknowledging even what I do include. There is no way to please everyone.

Who is your favorite Austen villain?
Upon their first meeting, John Willoughby, literally, sweeps Marianne Dashwood off her feet. He is, according to Marianne, “what a young man ought to be.” Luckily, Austen does not allow Willoughby to seduce Marianne – although one could assume that the younger Dashwood sister would have easily succumbed to the man’s charms. Willoughby’s actions are caste-determined, and that makes him so pitiful. His “deathbed” confession to Elionor reveals him to be selfish, weak, and spoiled. However, it is his seduction and abandonment of Colonel Brandon’s ward, which relegates him to the class of rake. Multiple opportunities exist for him to become a better man, but he resists each.

What is your favorite scene is all of Austen?
Captain Wentworth’s love letter still takes my breath away. One time in my Advanced Placement English Composition class, we were reading Persuasion. When I read Wentworth’s letter aloud, there was a collective sigh of “Ahhh” from every female in the room. I totally understood. I feel it every time.

What is your “truth universally acknowledged”?
“Beware the prayer the Devil answers.” One hears that phrase often in the South. My mother shared it on numerous occasions.

Jane, Twitter Style: If you could tweet 1 message to Jane (140 characters or less) what would you say?
Ben Franklin said: “Write something worth reading or do something worth writing.”

If you could completely rework any Austen character, who would it be and what would you make of them?
I openly admit that I prefer Emma Thompson’s screenplay version of Colonel Brandon to the one in Austen’s novel. Quite frankly, the Austen colonel is a prig, and the social tension between Brandon and Marianne is too weak to engender true romantic interest between the two.

The moral contrast between Brandon and Willoughby is greatly lacking in the novel. Thompson gives Brandon many of Willoughby’s finer qualities, including the man’s love of music; therefore, creating an “emotional hero.” I would have to give Colonel Brandon more depth than did Jane Austen.

What’s your favorite scene you’ve ever written?
From my Austen adaptations, there is a tie. The scene when Darcy corners James Withey in The Phantom of Pemberley plays well, as does the fight scene in the Northumberland cemetery in Vampire Darcy’s Desire. I am not certain what it says of me that I have chosen two fight scenes – probably all those years of Tae Kwon Do.

To counter what may be perceived as a “tendency” for violence, in my non-Austen pieces, I prefer the scenes where Carter manipulates Gillian on the reality TV show entitled “Second Chances,” from the novel by the same name.

Which character would you most want to shake?
Anne Elliot’s indecision drives me quite mad. Even when Wentworth returns and is making an “a**” of himself by flirting with Louisa and Henrietta, I always wish for Anne to do something more than to sit with downcast eyes. It is bad enough that she refuses him in ‘06, but what would she suffer by confronting Wentworth upon his return? Her future looms grim as it is. I realize that my attitude is one entrenched in my 60s and 70s upbringing rather than Miss Anne’s reality; yet, it is most frustrating.

To which character would you least like to be related?
I am torn between Elizabeth Elliot and Caroline Bingley, but I would probably choose Miss Bingley. I despise those who place themselves above others, especially when they have no call to consider themselves as such. Miss Bingley acts from jealousy and from desperation; yet, I hold no sympathy for her. Even at Pemberley, when it is obvious to all that Darcy prefers Elizabeth, Miss Bingley’s lack of breeding leads her to berate Elizabeth Bennet. She needs to learn to “know when to hold them and know when to fold them.”

Would you rather be stranded on an island with Lady Catherine or Mr. Collins?
Lady Catherine’s tenacious spirit, her resiliency, and her intelligence would prove an asset. She would, of course, expect me to do all the work, and we would have a “heated exchange” regarding her attitude, but Her Ladyship and I would survive. We are both of the nature to lead, follow, or get out of my way. Lady Catherine has assumed Sir Lewis’s role at Rosings. She is capable of handling tough decisions.

As “Mr. Collins was not a sensible man, and the deficiency of nature had been but little assisted by education or society,” we could not co-exist on the island. His pompous self-conceit would drive me crazy. Literally, crazy. I could not be held responsible for my actions. (Oops! That reeks of more violence. Perhaps, I should seek a therapist.)

What is next for you?
I have a short story entitled “The Pemberley Ball” in the new anthology The Road to Pemberley. [Note from Misty: I will be reviewing this!} Fellow Austen Author, Marsha Altman, served as the editor for this July 2011 Ulysses Press release.

My holiday-themed Christmas at Pemberley went to press the first of June and will be released in October 2011.

Hopefully, the next two books in my Realm series will see a late winter release. A Touch of Velvet and A Touch of Cashémere are ready for publication!

Thanks so much for stopping by, Regina!
Janeites, make sure to stop by later today for 2 giveaways from Regina!

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Meet Lydia Dare

Lydia Dare is a partnership between Jodie Pearson and Tammy Falkner. They write paranormal romance set in the Regency Period. Check out Lydia Dare’s
A Certain Wolfish Charm
Tall, Dark and Wolfish
The Wolf Next Door
It Happened One Bite
In the Heat of the Bite

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Meet Karen McCullough

Karen McCullough writes both mystery and science fiction, with romantic elements, for Five Star/Gale Group. Check out her
Heart of the Night
A Question of Fire
A Gift for Murder

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Meet Chloe Harris

Chloe Harris writes “hot spiced historical romance” for Kensington Press. Chloe Harris is the pseudonym of a partnership of writers: Noelle Henderson and Barbara Kolten. Check out her
Secrets of Sin
In Deep
Silent Night, Sinful Night

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Meet Beth Williamson

Beth Williamson also write “cowboy”-themed romance. She says she admire Leigh Greenwood’s stories over the years. Beth writes for Kensington Press. Look for her
Gideon
Lucille’s Lawman
Restless Heart

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Meet Jennifer Hudson Taylor

Jennifer Hudson Taylor has released eight books, but has recently joined the group from Addington Press. She writes “inspirational” romance which thrives on characters who have very “human” qualities. Check out her
Highland Blessings
Highland Sanctuary

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Meet Leigh Greenwood

Also on the panel, we will find Leigh Greenwood. Leigh worked for Dorchester, but has recently gone to the eBook format. His “cowboy” romances have been a staple of the business. Check out
No One But You
When Love Comes
Someone Like You

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Meet Mary Margaret Daughtridge

On Saturday, June 25, I will be sharing a panel with 9 great romance writers. Let me introduce you to them.
Mary Margaret Daughtridge is a 2010 National Readers’ Choice Award winner. She writes for Sourcebooks. Her books about Navy Seals are very popular.
SEAled Forever
SEAled with a Kiss
SEAled with a Promise
SEAled with a Ring

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1940 Pride and Prejudice: A “Screwball Comedy”

According to moderntimes.com, the term “screwball comedy” refers to “films where everything was a juxtaposition: educated and uneducated, rich and poor, intelligent and and a bit stupid, honest and dishonest, and most of all male and female. When two people fell in love, they did not simply surrender to their feelings, they battled it out. They lied to one another, often assuming indifferent personas toward each other. They often employed hideous tricks on each other, until finally after running out of inventions, fall into each others’ arms. It was fossilized comedy, physical and often painful, but mixed with the highest level of wit and sophistication, depending wholly on elegant and inventive writing.”

The 1940 adaptation of Pride and Prejudice was created in the image of such famous screwball comedies as Mr. Deeds Goes to Town, My Man Godfrey, Bringing Up Baby, You Can’t Take It with You, and It Happened One Night. For the true Janeite, the 1940 film speaks to everything wrong with film adaptations of Austen’s works. It has a systemic problem: four different views of the plot. There’s Austen’s original novel. There’s also Helen Jerome’s 1935 dramatization of Pride and Prejudice, upon which this film was based. Then, there’s the uncommon collaboration between MGM screenwriter Jane Murfin and British novelist Aldous Huxley. It’s no wonder the audience is given a film that’s 20% Austen and 80% Hollywood.

Laurence Olivier had garnered acclaim in his film roles in both Wuthering Heights and Rebecca. He was a natural choice for Fitzwilliam Darcy. Producers were hesitant to give the role of Elizabeth Bennet to Olivier’s real-life love Vivien Leigh, and so Greer Garson was recruited for the part. Neither gives his/her best performance, but they are both pleasant to look at. Actually, minor characters carry the film. Mary Boland (Mrs. Bennet), Edmund Gwenn (Mr. Bennet), Edna Mae Oliver (Lady Catheine de Bourgh), and Melville Cooper (Mr. Collins) bring life to the film. These characterizations are reminiscent of the Jerome’s farcical play. We all remember Oliver sitting on Kitty’s music box and her enduring the parrot squawking in the background.

Costumer Adrian provided 500 voluminous and anachronistic gowns for the film, and although the opening frame announces, “It happened in OLD ENGLAND,” the film lacks legitimate British aspects. In Jane Austen in Hollywood, Troost and Greenfield say, “Readers of the novel must balk, however, when Darcy calls Elizabeth ‘tolerable,’ and adds, ‘I’m in no humour tonight to give consequence to the middle classes at play.’ Austen is more egregiously misrepresented when Elizabeth speaks of Darcy’s unwillingness to ally himself to ‘a family of such low descent.’ The novel’s Elizabeth, so proud of being ‘a gentleman’s daughter,’ was not quite what Hollywood wanted – any more than an Elizabeth less beautiful than her sister Jane was. Enjoying Greer Garson’s perfect features and glassy composure, the camera persuades us to forget she is a decade or so older than Elizabeth Bennet’s ‘not yet twenty.’ Similarly, we are meant to consider Elizabeth as a daughter of those middle classes that reliably rose up against the aristocracy in Hollywood’s wartime renderings of nineteenth-century novels (cf. Jane Eyre), which portrayed OLD ENGLAND as democratic America’s ancestor. Part of the context that shaped this film was the producers’ aim to get the United States into the war as England’s ally together with the formal constraints of Hollywood comedy, politics was responsible for changing Lady Catherine’s mind about Elizabeth.”

Caroline Bingley wears a black gown to the assembly. This would have been unheard of for a young, unmarried woman of the Regency period. 1939’s Gone with the Wind influenced costumer Adrian’s choices. We find hooped skirts, tight bodices, tight waistlines, high puffy sleeves, and hats, which frame the face. At the garden party, Elizabeth wears a white bouffant dress with a white hat. When Mr. Collins proposes, she has black accents to the gown (bows, zigzags on the sleeve, etc.). The effect is more 1830.

Obviously, the class difference, central to the novel, is greatly reduced in this film version. Darcy’s objection to dancing with Elizabeth at the Meryton assembly rests purely in her being slighted by other men. Olivier’s role is “minor” in this adaptation. His most brilliant performances come in the proposal and the reconciliation scenes. He’s so much better as Heathcliff in Wuthering Heights. Garson is much too old for Elizabeth, and she plays the character as a “modern” woman. The script has her a downright rude at times.

None of the Bennet sisters display consistent manners or decorum. In the film, Jane is openly flirtatious – quite a contrast to the demure creature of Austen’s novel. Kitty and Lydia are shown behaving very badly. Do we not remember the scene on the swings with the officers? Kitty is also quite inebriated at the Netherfield Ball.

The first 16 chapters are reduced to one scene at the Meryton assembly. Darcy finds Elizabeth appalling at the beginning of the assembly. At the assembly’s end, he’s intrigued by her. Wickham dances with both Elizabeth and Lydia during the assembly. Elizabeth refuses Darcy’s request to dance, but then she accepts Wickham (Edward Ashley). Relationships are defined in this one extended scene. The use of the Netherfield garden party also defines personalities. Elizabeth, in a very modern strand, beats Darcy in an archery contest. She later alludes to Darcy having refused an introduction to Wickham. Darcy tells Elizabeth that he would judge each situation individually, and he admonishes her for judging him as anything but a man of honor. They appear to strike up a friendship when Darcy comforts Elizabeth after Caroline Bingley’s (Frieda Inescort) unkindness. However, Mrs. Bennet’s pronouncement regarding Jane’s prospects with Mr. Bingley (Bruce Lester) curtail the relationship.

The time compression is somewhat problematic in the film. Only moments after the audience discovers Lydia has eloped with Wickham, Darcy is on Longbourn’s doorstep to offer his assistance. He confesses Wickham’s attempted seduction of Georgiana. Elizabeth confessing to Jane that she loves Darcy follows. The audience loses the change of heart that Austen’s readers love in the novel.

There are other anachronistic elements. For example, Lady Lucas says of the letting of Netherfield Park is the best news “since the battle of Waterloo.” Of course, Waterloo came two years after the release of Pride and Prejudice. Some of Austen’s most beloved scenes are missing, especially those at Pemberley. We have NO portrait in the gallery, NO praise from Mrs. Reynolds, and NO being discovered at Darcy’s home. Ellen Belton in “Reimagining Jane Austen: The 1940 and 1995 Film Versions of Pride and Prejudice” says, “While the novel concerns itself with the complex psychological processes by which first the hero and then the heroine fall in love with one another, the film visually suggests a mutual attraction that is almost instantaneous. It is obvious from the outset that he is drawn to Elizabeth and makes very little effort to resist succumbing to her charms.”

The film might be summed up when Garson’s character says, “You’re very puzzling, Mr. Darcy. At this moment, it’s difficult to believe that you’re so proud.” To which, Olivier’s Darcy replies, “At this moment, it’s difficult to believe you’re so prejudiced. Shall we not call it quits and start again?” This film garnered both financial and critical success. In fact, when it opened at the Radio City Music Hall, it drew the largest weekly audience during the month of August in the theatre’s history. During its four-week run at RCMH, it grossed $1,849,000.

Posted in film, film adaptations, Jane Austen, Pride and Prejudice | Tagged , , , , | 2 Comments