Serial Austen. Mashingups with Zombies
10.13125/2039-6597/2612
Jane Austen vende sempre, e in ogni modo. I suoi romanzi sono stati adattati per il cinema e per il teatro, e sono stati trasposti in graphic novels. L’autrice stessa è diventata un’icona culturale. L’interesse nei confronti della sua esistenza è così forte che sono state scritte innumerevoli biografie per svelarne ogni più piccolo dettaglio. I luoghi in cui ha vissuto e quelli rappresentati nei suoi romanzi sono diventati meta di veri e propri pellegrinaggi letterari. La Austen è un fenomeno culturale che attraversa i diversi generi e media, vengono perfino ricreati i balli del periodo regency riprendendo dettagli e personaggi dai suoi romanzi, ed i suoi scritti sembrano subire un infinito processo di riscrittura e rimediazione. Il presente saggio prende in considerazione in particolare il mash-up novel Pride and Prejudice and Zombies (2009), di Seth Grahame-Smith (e di Jane Austen), vero e proprio fenomeno culturale dell’ultimo decennio, e vuole mostrare come questo testo possa essere interpretato come narrativa seriale. Se come Henry Jenkins afferma, la serialità implica uno sviluppo della storia nel tempo attraverso un processo di “chunking” (ovvero il ricreare parti centrali della stessa storia) e di “dispersal” (ovvero spezzare la storia in più parti in vari generi e media), dobbiamo riconoscere che i romanzi mash-up fanno proprio questo. La storia della Austen rimane come semplice “story-hook” che spinge il lettore a leggere altri prodotti per cercarne una continuazione, un seguito, o un prequel. Se da un lato, la serialità viene riprodotta attraverso lo stesso testo, lo storytelling austeniano si riflette in diversi generi e media come parte di un vero e proprio processo seriale.
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2039-6597
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Eleonora Federici
Between
storytelling
Serial Austen.  Mashingups with Zombies
Text.Serial.Journal
https://ojs.unica.it/index.php/between
6
Seriality in Literature
2017-01-26
2017-01-17
2016-06-23
2017-01-26
1
Eleonora Federici
2016
10.13125/2039-6597/2612
L'Orientale Napoli
2039-6597
11
storytelling
en
Serial Austen.  Mashingups with Zombies
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6
                 Serial Austen
            Mashingups with Zombies
                             Eleonora Federici


                             1. Serial Austen?
      Jane Austen sells. She sells in all possible ways, she is probably
the most adapted author in British history. As a matter of fact, her
novels have been adapted for the cinema and the stage (Wiltshire 2001;
Byrne 2002; Parrill 2002; Voigts Virchow 2004; Sutherland 2005; Gay
2006; McLuckie 2006; Troost and Greenfield 2007; MacDonald 2008;
Dow 2012; Birk and Gymnich 2015), they have been rewritten as
comics and graphic novels, like for example, the Marvel version of
Pride and Prejudice by Nancy Butler and Hugo Petrus (2013). However,
Jane Austen is not only one of the most known writer of the English
literary canon but she is a true cultural icon (Wells 2011; Johnson 2012;
Mullen 2012). The interest in her life is so strong that many biographies
have been written in order to recover new facts and details (Honan
1988; Jenkins 1996; Nokes 1997; Holbert Tucker 1998: Tomalin 1999; Le
Faye 2006). The places where she has lived and the places depicted in
her novels have become tourist sites for literary pilgrims; in her case
literary tourism joins her life and her work (Laski 1969; Edwards 1985;
Aylmer 2003; Le Faye 2003; Galperin 2003; Battaglia e Saglia 2004). Jane
Austen is a cross-over phenomenon which encompasses many fields,
from regency costume balls (with characters’ interpretation) created in
her steps, to heritage films and literary tourism. Her work has been
intensively and extensively studied for centuries by scholars and is
now object of study by non scholars but faithful admirers all over the
world. Interdisciplinary and an incredible range of studies have been



Between, vol. VI, n. 11 (Maggio/May 2016)
Eleonora Federici, Serial Austen. Mashingups with Zombies



carried on about the author and her literary works (Gammie and
McCulloch 1996; Kirkham 1997; Tuite 2002; Sales 2003; Fullerton 2006;
Knox Shaw 2004; Suk Yang 2013) and Austen scholars continue to find
new fields of analysis (Doody 2015).
      Furthermore, a variety of books have been published on her
admirers across languages and cultures. The term ‘janeite’ has been
coined in order to define Jane Austen’s fans and admirers and it gives a
name to the unique relationship in which writer and reader are on first
name terms, they are blended. The term was actually made up by
Rudyard Kipling in his short story “The Janeites” published in Story-
Teller, MacLean’s and Hearst’s International magazines in May 1924
about a group of World War I soldiers who were secretly fans of
Austen’s novels. On January 2013 the BBC devoted a program on
Janeites entitled “Janeites: the Curious American Cult of Jane Austen”
presenting the movie adaptation of Shannon Hale’s book Austenland
presented at the 2013 Sundance Film Festival. The love and obsession
for Austen and her narrative world has been analyzed by various
scholars, like for example Lynch (2000), Giffin (2002); Raw and Dryden
(2013), Yaffe (2013), Mirmohamadi (2014). Talking about Janeites
clearly defines one type of Austen’s admirer, the common reader we
could say, opposed to the academic, the scholar.
      What is the reason of Jane Austen’s popular and global success?
First of all, in the Anglophone world Jane Austen’s books are well-
known, almost anyone has read at least a book by Austen at school or
at University; her texts are used in secondary education and they are
widely     available    online    (for   example    on    the    website
www.bibliomania.com) with commentaries. Secondly, the interest on
Austen’s life and her work has been influenced by a massive amount of
adaptations of her novels into different literary and visual genres, into
sequels, prequels, comic versions, graphic novels, romance fiction and
spin-offs. Jane Austen has become a brand, with a continuous
development of her work’s industry (Hayes 2000). Certainly BBC series
have given an afterlife to Austen’s narratives, they have clearly
reinvigorated the interest in her works. Moreover, adaptations creators
have been influenced by earlier works of adaptation and the 1995 BBC


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                                      Between, vol. VI, n. 11 (Maggio/Maggio 2016)



series of Pride and Prejudice has certainly been a watershed in Austen’s
‘afterlives’. Colin Firth’s representation of Darcy has remained in the
minds and hearts of Austen’s fans and many scenes of the series – first
of all the pond scene with a sexy Darcy emerging dripping wet - have
been re-utilised by later adaptations like, for example, Lost in Austen, a
four-part 2008 British television series written by Guy Andrews where
Amanda, a woman from modern London, enters the plot of the novel
through a portal in her bathroom, to join the Bennet family and affect
events disastrously.
      This intertextuality among adaptations has got to the point that
sequel narratives have referred to the actor interpreting the character,
like Mia March’s Finding Colin Firth (2013). Actually, Firth’s Darcy is
partly responsible for the erotic fascination with Austen characters.
Many have been the publications on the erotic genre and what has
been defined as “Jane Austen Erotica”, like for example, Arielle Eckstut
and Dennis Ashton, Pride and Promiscuity: The Lost Sex Scenes by Jane
Austen (2001) or Enid Wilson’s ‘sexy romances’ visible in her webpage
“steamydarcy.com”, to William Codpiece Thwackery’s rewriting Fifty
Shades of Mr Darcy: A Parody (2012). A quite playfully study on
Austen’s novels and the role of readers is Sarah Raff’s Jane Austen
Erotic Advice (2014) which has nothing to do with the mass of
publication on Austen erotica but which envisages a strong and
emotional relationship between the writer and her readers, an
empathic bond that would explain the massive interest in her work
nowadays. If the title choice is more a marketing solution than a
polemic against sexed up classics we do not know but it clearly reveals
the point to which Austen’s rewritings have got. Austen has become a
crime fiction writer in the hands of Stephanie Barron and her “Jane
Austen          Mysteries”         (bibliography       available        at
http://stephaniebarron.com/books.php). She has been transformed into
a teen writer with young adult novel adaptations like Elizabeth
Eulberg’s Prom and Prejudice or Jenni James’s series The Jane Austen’s
Diaries (Coldwell 2014). It is not a chance that scholars see Austen
behind sentimental novels like Helen Fielding’s Bridget Jones’s Diary
(1996) and Bridget Jones and the Edge of Reason (1999) which have been


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Eleonora Federici, Serial Austen. Mashingups with Zombies



adapted into movies and whose sequel is the brand new Bridget Jones’s
Baby directed by Sharon Maguire with one again Colin Firth as a new
Darcy (2016). Chicken literature like Alexandra Potter’s Me and Mr
Darcy (2007) or Shannon Hale’s Austenland (2007) or the spin off
Longbourn (2014), a novel that imagines Pride and Prejudice from the
point of view of the Bennett’s housemaid, are other ‘reflections’ of
Austen’s works. Another realm which has been widely invaded by
Austen’s stories is the horror genre with books by Amanda Grange’s
sequel Mr Darcy, Vampire, (2009), followed by Vampire Darcy’s Desire: A
Pride and Prejudice Adaptation (2009) by Regina Jeffers. The vampire
motif spread to a different Austen novel, resulting in Jane Austen and
Wayne Josephson’s Emma and the Vampires (2010) and even Austen
herself turning into a vampire in Jane Bites Back (2010) by Michael
Thomas Ford. So, it is clear that we witness and endless manipulation
of Austen’s stories and characters (Francus 2010).
      Acknowledging this, should we take this proliferation of Austen
and her world as a way to read her endlessly and in proliferating
ways? As Linda Hutcheon has outlined, talking about proximity or
fidelity to the original text, “adaptation is repetition without
replication” (Hutcheon 2006: 7). As a reader and a fan of Austen in the
last two decades I have witnessed a proliferation of her narrative world
but I have been particularly struck by the horror path her characters
have taken. Some months ago while I was looking at new books in the
sci-fi section in the bookshop where I usually go I was perplexed about
the amount of novels clearly referring to my favourite author and
showing covers with vampires and zombies. While I was thinking to
myself that this could not work (at least for scholars or intellectuals),
the bookshop seller said I could not miss that, it was a very enjoyable
and funny book. At that point my soul of Cultural Studies scholar
could not resist, and grabbed Seth Grahame-Smith’s Pride and Prejudice
and Zombies (2009) showing an Elizabeth Bennett zombified on the
cover. Surely this has not been one of the best reading in my life but it
is anyway one example of a phenomenon that poses some questions
about reading, readers, classics and our globalised and wired world.



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                                     Between, vol. VI, n. 11 (Maggio/Maggio 2016)



      That is how I entered the world of “mash-up” novels, a real
cultural phenomenon of the last decade. “Mash-up” novels combines
the original novel with a parallel version in another genre; they are
works of fiction which combine a pre-existing literature text, often a
classic, with another genre, principally the horror genre or science
fiction into a single narrative. The term originated in the music
industry defining songs blending two or more pre-recorded songs,
usually by overlaying the vocal track of one song seamlessly over the
instrumental track of another. It appears to have been coined for this
novel, Seth Grahame-Smith's novel Pride and Prejudice and Zombies
(2009) seen as the starting point of the genre. It is clearly a marketing
choice, in fact these novels have been commissioned by a publisher,
who recognized a new market segment. The idea of a marriage
between the Regency novel of manners with zombie splatter fiction
came from Jason Rekulak, the publisher at Quirk Books, an
independent Philadelphia-based publishing house, which led to Pride
and Prejudice and Zombies becoming the first of a new imprint, Quirk
Classics, mockingly mirroring Penguin classics. Quite interestingly,
Quirk Books utilized internet as their main marketing tool for the
selling of the novel. “Mash-up” have been seen as a way to exploit
classic literature for commercial purposes, a way to capitalise on the
publishing success of canonical text, which certainly is the case. The
publisher increate the initial print from 12,000 to 60,000 copies thanks
to the position of the “mash-up” as a best-seller both in the Amazon
list than in prestigious lists like for example, the New York Times best
sellers.
      “Mash up” novels have been massively bought while being
dismissed as popular and marketing products by the academia.
Surprisingly (also for the publisher) the zombie version of Austenland
was seen as an interesting evolution by Austen fans worldwide who
bought and read it more than horror genre readers. The following
years saw a prequel, Dawn of the Dreadfuls (2010) about the Bennet
sisters and the sequel, Dreadfully Ever After (2011) on the marriage of
Mr. and Mrs. Darcy, both by Steve Hockensmith. The hideous progeny
of Pride and Prejudice led to more supernatural creatures being


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Eleonora Federici, Serial Austen. Mashingups with Zombies



introduced into the market in the same year, like Jane Austen and Ben
H. Winters’s Sense and Sensibility and Sea Monsters and Jane Austen and
Vera Nazarian’s Mansfield Park and Mummies (2009). A more recent
phenomenon within the genre is the combination of more than two
original works, or genres, as in the case of Robinson Crusoe (The Eerie
Adventures of the Lycanthrope), which combines the original novel with
elements borrowed from the works of H.P. Lovecraft as well as the
popular genre of werewolf fiction, and is accordingly attributed to
three authors – Daniel Defoe, H.P. Lovecraft, and Peter Clines, or Cass
Grix’s Frankenstein Darcy: a Pride and Prejudice Paranormal (2016).

                     2. Mashing Up Pride and Prejudice

     Marketed in the press and on the front cover as “The Classic
Regency Romance now With Ultraviolent Zombie Mayhem” and
signed by two authors – Jane Austen and Grahame-Smith – the novel
follows the original plot of Pride and Prejudice and adds to it zombies
and ninjas. In the case of Pride and Prejudice and Zombies, Grahame-
Smith declared that he used a 80% of Austen’s text and transformed
only the rest. Disrupting the linearity of the original the writer added
new elements in order to present the story from a different perspective.
However, here the notion of rewriting is taken a step further, starting
from the premise of co-authoring the book with the dead author.
Following Julie Sanders, Adaptation and Appropriation (2006), we can
debate if this is an adaptation of the Austen’s text or an appropriation.
Probably Austen’s rewriting with zombie can been seen as an
enhanced version of the original text with modern material. Both the
positive and negative evaluation of the phenomenon starts from the
fact that “mash-up” authors take available and well-known texts,
integrate them with popular elements and make the story accessible to
a modern audience. So, if on the one hand, they trivialize classics and
canonical literature, on the other, the contemporary writer expose
readers to touchstone classics they might not have had an interest in
before the novel was combined with the horror genre. One of the main



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idea is that “mash up” unveil an interest and a veneration for classic
texts which are given a new life, we could say they are ‘translated’ for
the younger audience. It’s hard to say if this is an homage, or an
exploitation, or more pragmatically a mere marketing strategy. As
intellectuals we do not take too much seriously these literary forms,
however we must recognize that in this age of hypertexts and
multimedia narrative structures they should be regarded as a new
literary phenomenon. We can say that the “mash-up” novel allows
contemporary writers to explore classic novels by adding popular
elements to the pre-existing stories, making these stories more
appealing for the contemporary reader (Beard 2009). Clearly the dead
author cannot react to adaptations, re-mediations and mashing-ups of
her work, they are made taking into account the readers’ expectations.
They are texts principally thought for the American reader and market
(Murray 2012).
      Can “mash-up” novels be seen as the last product of Austen’s
works adaptability and versatility for a modern audience? Can we say
that the extreme popularization of the author and her novels gradually
brought us to the mashing up of her texts? Moreover, it seem a never
ending replication since many “mash-up” novels have been adapted
into movies, like in our case the movie of Pride and Prejudice and
Zombies released in February 2016 (directed by Burr Steers), or
previously Seth Grahame Smith’s Abraham Lincoln: Vampire Hunter
(2010) first a “mash-up” novel, and then a “mash-up” film as well. So,
the success of “mash-up” novels now has transcended to the film
industry. The adaptation of “mash-up” novels into movies or graphic
novels (Pride, Prejudice and Zombies has been adapted as a graphic novel
by Tony Lee and Cliff Richards in 2010) clearly show the popularity of
mash-ups and give us, both as readers and scholars, some food for
thought. Even the BBC dedicated a program on this topic in 2012
entitled “Are literary mash-ups the best next thing?”.
      My aim is to demonstrate that “mash-up” novels based on
Austen’s texts can be considered as serial narratives. If as Henry
Jenkins (2006) asserts, seriality implies the unfolding of a story over
time through a process of “chunking” (that is creating meaningful


                                                                               7
Eleonora Federici, Serial Austen. Mashingups with Zombies



parts of the same story) and of “dispersal” (that is breaking the story
into more parts and in more genres and media), mash-ups seems to do
this. Austen’s story remains as a “story hook” which pushes the reader
to come back to different products for a continuation of the same story.
So, if on the one hand “seriality occurs within the same text” (Jenkins
2006: 18), the storytelling of Austen’s stories across genres and media
are part of a seriality process, So we can say that Austen’s world is
rebuilt through different literary and cultural products. As Camilla
Nelson (2013) asserts, more than to the original the text is influenced
by other adpatations, and we fitness “an intertextual field of
difference” (Nelson 2013: 342). Intertextuality and intermediality are
the key issues of these forms of writing which are based on the idea of
assembling previous literary and cultural material and mashing them
with new ideas. If on the one hand, adaptation demands the text to be
read relationally to previous texts, on the other hand, “mash-up”
novels like Pride Prejudice and Zombies demonstrates that seriality can
be seen in the repetition with variations of the same model, that is to
say, these literary forms exemplify how an hypotext (the classic) is
repeated with differences in the hypertext (the “mash-up”).1 According
to Jenkins, Victorian seriality has been transformed into a wider
literary/cultural universe transposed in various media (cinema, comics,
visual arts, the web) and we can retrace an “horizontal seriality”
repeated in different media, a “vertical seriality” visible in sub-plots of
the hypotext, and a “transversal seriality” retraceable in the character’s
characterization.
      I am aware my analysis crosses seriality with transmediality and
crossmediality. We could say that Austen’s “mash-ups” are part of a
process of transmedial storytelling – in the definition given by Max
Giovagnoli (2011) – because they amplify the author’s imaginary world
and they re-tell the core story in different media. Furthermore, they can
be considered as products of “modification” according to Marie Laure
Ryan’s definition of transfictionality (Ryan 2013). Following her study


      1
          For this terminology see Genette 1982.



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on the three different operations of expansion, modification and
transposition, Austen’s “mash-ups” are clearly consequence of the
“snowball effect”, that is:

        A certain story enjoys so much popularity or becomes so
     prominent culturally that it spontaneously generates a variety of
     either same medium or cross media prequels, sequels, fan fiction
     and adaptations. In this case, there is a central text that functions
     as a common field of reference to all other texts. (Ryan 2013: 363)

     Austen’s protoworld of Pride and Prejudice is clearly redesigned
and reinvented in contemporary “mash-up” novels.

      3. What zombies got to do with Elizabeth Bennett?

     The “mash-up” clearly is structured around six elements from
Austen’s text: the plot, the characters’ characterization, the dialogues,
well known scenes and some of the main themes in the novel like the
differences between social classes, money, gender relationships, social
values and rules in Regency England. As a matter of fact, despite
transgressing Jane Austen’s construction of the world of Regency
manners, Grahame-Smith still manages to retain many of its core
values, from a sense of decorum through the depiction of a strong
main female protagonist, Elizabeth Bennet. It is not a chance that the
novel begins alluding to Austen’s well known beginning of the story:

        ‘It is a truth universally acknowledged that a zombie in
     possession of brains must be in want of more brains. Never was
     this truth more plain than during the recent attacks at Netherfield
     Park, in which a household of eighteen was slaughtered and
     consumed by a horde of the living dead.’ (Austen and Grahame-
     Smith 2009: 7)

     This rewriting of the classic opening line from Pride and Prejudice
signals a departure from the normal narrative, and prepares the



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Eleonora Federici, Serial Austen. Mashingups with Zombies



reader’s expectations since as a result of these two simple sentences,
the perception of the ideal Austen reader is immediately deconstructed
and the access to a wider readership is evident. While transforming
Austen’s text, the author disrupts the linearity of the original text while
reinterpreting some parts. All through the text the reader recognizes
the extracts from Austen and the author’s reinterpretation of the plot.
As for the characters’ characterization, the first recognizable thing is
Grahame Smith’s changes about Austen’s female characters, they are
warriors, ninjas who fight for the Crown against Zombies who are
invading the idyllic English rural world. The Bennett sisters are
fearless warriors, trained as zombie warriors in the Shao Lin Temple in
China and masters of the sue of katana. Georgiana, Darcy’s sister is a
warrior too, and so is Lady Catherine de Bourgh famous for her
fighting skills. As we can guess from the horror theme, violence is
pervasive and some scenes are very disturbing, like for example,
Elizabeth devouring the still beating heart of a ninja. Because of this
depiction of a fighting femininity, a feminist message has been
underlined in the novel (Ruthven 2012; Roberts 2015). However,
following the marriage plot, these women are expected to cease
fighting zombies once they marry. The sentimental novel comes once
again on the surface (Potter 2012). However, Charlotte Collins’
marriage plot is reshaped and following Austen’s portrayal of human
beings and social manners, Grahame Smith represents the characters’
dispositions, manners, talents or their power to please. He changes
Austen’s depiction of male characters like, for example, Mr. Bennett
and Mr. Collins, who are well known for their defects and non
sympathetic behaviors, and render them more positive; Darcy is a
renowned zombie killer while Mr. Bingley has never learnt to fight.
      Like in Austen’s novel, characters are built through their words,
that is to say, through what they say and think. Dialogues have the
same use as in Austen’s text, they explain the character’s attitude while
developing the plot. The Austenian language (Page 1972; Stokes 1991)
is also mashed up with contemporary American English and the use of
the horror genre lexicon, so that the author’s passages are intersected
with the contemporary words of Grahame Smith. Descriptions of


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zombies as ‘herds’, ‘outcasts’, ‘living dead’ recall all the
cinematographic tradition starting from Romero’s Dawn of the Dead
(1968). Moreover, the dialogue between verbal and visual texts is
symbolized also in the last edition of the novel where the cover is taken
from the movie adaptation and which presents a paratextual apparatus
with images from the movie. Therefore, the intermediality already
present in the text through the illustrations by Roberto Parada is
enhanced with the photos of the cinematographic adaptation.
     Adaptations of the “mash-up” novel have gone so far to create
videogames and adaptations for ipads and tablet devices. It is not a
chance that Austen’s stories have also proliferated on the web, through
fan fiction published by readers and internet chats on the author and
her world. In Convergence Culture (2006) Jenkins has defined
“transmedia storytelling” as emergent forms of storytelling which tap
into the flow of content across different media and through the
networking of fan response, and clearly not only the proliferation of
Austen’s stories is a clear example of this process, but also the seriality
created by the re-production of the “mash-up” novel into different
media is an evident one. Not simply Austen has been serialised
through different genres and media but the same adaptations have
been serialised through different forms of storytelling. The seriality of
Austen and her narrative world has taken a further direction,
becoming part of a deeper and wider popularization of the author and
of her work centuries after her life and publications.




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Eleonora Federici, Serial Austen. Mashingups with Zombies




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                                     The author
Eleonora Federici

       Eleonora Federici (M.A. e Ph.D University of Hull, UK) is
Associate Professor of English and Translation Studies at the
University L’Orientale, Naples (Italy). Her main areas of research are
Translation Studies, Gender Studies, Utopian/Science Fiction and LSP
(especially the language of advertising and tourism). Among her
publications: The Translator as Intercultural Mediator (Uniservice 2006),
Translating Gender (Peter Lang 2011) and Quando la fantascienza è donna.
Dalle utopie del XIX secolo all’età contemporanea (Carocci 2015). She co-
edited The Controversial Women’s Body: Images and Representations in
Literature and Arts (Bononia UP 2003, with V. Fortunati and A.
Lamarra), Nations, Traditions and Cross-Cultural Identities (Peter Lang
2009 with A. Lamarra), Bridging the Gap between Theory and Practice in
Translation and Gender Studies (Cambridge Scholars 2013 with Vanessa
Leonardi) and the monographic issue “Forme, strategie e mutazioni del



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                                         Between, vol. VI, n. 11 (Maggio/Maggio 2016)



racconto seriale” , Between vol.6, n.11 (2016) with A. Bernardelli and
G.Rossini.

      Email: eleonorafederici@hotmail.com



                                The paper
Date sent: 30/04/2016
Date accepted: 15/05/2016
Date published: 31/05/2016



                      How to quote this paper
Federici, Eleonora, “Serial Austen. Mashingups with Zombies”, Forms,
strategies and mutations of serial narrative, Eds. A. Bernardelli, E. Federici,
G. Rossini, Between, VI.11 (2016), http://www.betweenjournal.it/




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