Jane Austen on Creative Integrity
How to defend your creative vision against commercial pressure with graciousness, honor, and unflinching conviction.
By Maria Popova
“Selling out is usually more a matter of buying in,” beloved Calvin and Hobbes creator Bill Watterson famously admonished in his speech on creative integrity. “Sell out, and you’re really buying into someone else’s system of values, rules and rewards.”
In December of 1815, Jane Austen (December 16, 1775–July 18, 1817) released her novel Emma (free download), followed closely by a second edition of her controversial 1814 novel Mansfield Park (free download) — the last two novels published during her lifetime. The former sold well, but the latter was a commercial failure — so much so that it nearly absorbed all of Austen’s profits from Emma. In the spring of 1816, less than a year before her death, she received a letter from Mr. Clarke, chaplain and private English secretary to Prince Leopold and the librarian at His Royal Highness’s Coburg House, who had come to admire Austen’s talents but also wanted to steer them in a certain direction. He suggested that “a historical romance illustrative of the august House of Coburg would just now be very interesting” — essentially a request for a publicity puff piece that would be at once more commercially successful for her and politically beneficial for the Prince. (A proposition tragically prescient and familiar amidst our day and age of churnalism and clickbait vacant of substance.)
But in a letter from April 1 that year, found in A Memoir of Jane Austen (public library | public domain), the celebrated author stands her ground with equal parts integrity and elegance, articulating the supremacy of the creative impulse over the allure of commercial success and capturing the very essence of why writers write:
My dear Sir,
I am honoured by the Prince’s thanks and very much obliged to yourself for the kind manner in which you mention the work…. You are very kind in your hints as to the sort of composition which might recommend me at present, and I am fully sensible that an historical romance, founded on the House of Saxe-Coburg, might be much more to the purpose of profit or popularity than such pictures of domestic life in country villages as I deal in. But I could no more write a romance than an epic poem. I could not sit seriously down to write a serious romance under any other motive than to save my life; and if it were indispensable for me to keep it up and never relax into laughing at myself or other people, I am sure I should be hung before I had finished the first chapter. No, I must keep to my own style and go on in my own way; and though I may never succeed again in that, I am convinced that I should totally fail in any other.
I remain, my dear Sir,
Your very much obliged,
and very sincere friend,
During that time, Austen had begun to write her final novel, which she titled The Elliots. She completed the draft mere months after her letter to Clarke. But she never lived to see it published, succumbing to fatal illness in July of 1817. It was posthumously published under the title Persuasion (free download) six months later.
A Memoir of Jane Austen, written by Austen’s nephew James Edward Austen-Leigh and originally published in 1869, is excellent in its entirety, offering an unprecedented, highly influential first-hand account of the elusive icon’s character and habits, and painting a dimensional portrait of the author whom Virginia Woolf called “the most perfect artist among women.”
Published December 19, 2013