The Wayward Muse

( 5 )

Overview

"I apologize again for my boldness, but I must tell you that you're the most beautiful girl in Oxford. Maybe in all of England. I have to put you in my painting."

With these words, the scandalous, wildly talented painter Dante Gabriel Rossetti changes seventeen-year-old Jane Burden's life forever. Jane's gaunt, awkward figure and grave expression have cemented her reputation as the ugliest girl in Oxford. Raised by a stableman on Holywell Street — the town's most sordid and despicable slum — Jane is nearly ...

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Overview

"I apologize again for my boldness, but I must tell you that you're the most beautiful girl in Oxford. Maybe in all of England. I have to put you in my painting."

With these words, the scandalous, wildly talented painter Dante Gabriel Rossetti changes seventeen-year-old Jane Burden's life forever. Jane's gaunt, awkward figure and grave expression have cemented her reputation as the ugliest girl in Oxford. Raised by a stableman on Holywell Street — the town's most sordid and despicable slum — Jane is nearly resigned to marry in-kind. But when she meets Rossetti at the theater, he sees beyond her worn, ill-fitting dress and unruly hair and is stirred by her unconventional beauty. The charismatic painter whisks Jane into Oxford's exclusive art scene as his muse, and during the long and intimate hours of modeling — draping and tilting, gazing and posing — Jane finds herself falling in love.

When Rossetti abruptly leaves Oxford with no plans to return, brokenhearted Jane settles for a stable, if passionless, marriage to his soft-spoken protégé, William Morris — the man who would go on to become the father of the British Arts and Crafts Movement. Jane resigns herself to life as a respectable wife and mother, exchanging the slop bucket for intricate needlepoint, willing away the memories of Rossetti and what could have been.

But Rossetti and Jane are inextricably bound together by tragedy, art, and desire, and no amount of time or distance can separate them. Ultimately this complicated arrangement with which Jane, Morris, and Rossetti must learn to live threatens to undo them all. Richly textured and deftly portrayed, Elizabeth Hickey's latest is a compelling portrait of the ever-changing notions of both love and beauty.

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Editorial Reviews

From the Publisher
"In The Wayward Muse, Elizabeth Hickey conjures up the fascinating love story behind an artist's vision and brings it to life with richly imagined characters and historical detail. It is an enchanting novel."

— Tova Mirvis, author of The Ladies Auxiliary and The Outside World

"I will never again encounter a William Morris design or read a poem by Dante Gabriel Rossetti in quite the same way. Elizabeth Hickey's rendering of the Pre-Raphaelite movement in English poetry and art is evocative and enchanting. Jane Burden is a heroine worthy of the Brontë sisters."

— Brenda Rickman Vantrease, author of The Illuminator and The Mercy Seller

"The Wayward Muse grants us and its protagonist, the plainest Jane from an Oxford slum, a shared dream: to be transported out of ourselves. With sumptuous and persuasive detail, the novel unveils for us the intoxications and burdens of always being someone's muse."

— Jim Shepard, author of Project X and Love and Hydrogen

Publishers Weekly

Plain Jane Burden never expected to be an artist's model, much less the standard of pre-Raphaelite beauty, but in Hickey's second historical novel (after The Painted Kiss), Jane's looks catapult her from the Oxford slums to the drawing rooms of London. After Jane is discovered by painter Dante Gabriel Rossetti, her domineering mother allows her to sit for a mural of Guinevere because of the much-needed income it brings the family. Jane relishes the few hours each week she's allowed to sit and eavesdrop on Rossetti and his clique of artists and writers, inspiring verses in their poetry and a declaration of love. But after Rossetti leaves her for his sickly fiancée, Lizzie, Jane agrees to marry his rich friend William Morris so she can stay close to him. Jane bears two children and becomes an uneasy confidante to Lizzie, but Rossetti's feelings for Jane resurface after Lizzie dies, and William can't help noticing. Hickey handles her characters with a light touch and steers them clear of brooding cliché territory. Marvelous period detail adds appeal to an alluring story. (Mar.)

Copyright 2007 Reed Business Information
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Product Details

  • ISBN-13: 9780743273190
  • Publisher: Washington Square Press
  • Publication date: 7/8/2008
  • Edition description: Reprint
  • Pages: 320
  • Product dimensions: 5.20 (w) x 8.10 (h) x 0.90 (d)

Meet the Author

Elizabeth Hickey

Elizabeth Hickey is the author of The Painted Kiss. She earned an MFA from Columbia University and lives in Portland, Oregon, with her husband and son.

Biography

From the author's official web site:

I was born and raised in Louisville, Kentucky. My father is a retired lawyer, my mother a Presbyterian minister. I always knew that I wanted to be a writer, and I used to give my mother stories I had written as Christmas presents, but during childhood and adolescence I was more interested in becoming an Olympic swimmer. Unfortunately, I was stymied by a lack of athletic talent. In high school, my art teacher had us paint copies of famous paintings. I attempted to replicate a painting by Vuillard that I found in the Armand Hammer exhibition catalog, and I wrote an essay about the artist's life. That was my first real introduction to art.

I went to Williams College in Williamstown, MA, where I majored in art history. I knew before I got there that the class I most wanted to take was a writing workshop with Jim Shepard, but I was very intimidated. I applied as a freshman and didn't get in (few freshmen did) and then waited until I was a senior to reapply. Jim turned out to be an amazing teacher and mentor, and once I became serious about writing there was no going back.

After graduation I went back to Louisville and worked at a publishing company and an independent bookstore while I prepared my graduate school applications. I was rejected by many writing programs and was wait-listed at both Indiana University and Columbia. I was considering moving to England and other radical life changes when I got the call from Columbia in August 1995. I was, I swear, the last person they took off of the waiting list. I had about two weeks to pack myself up and get to New York. While at Columbia I was able to regularly visit The Metropolitan Museum of Art, the Frick Collection, The Museum of Modern Art -- all of the great museums in New York. I received my degree from Columbia in 1999 and moved to Portland, Oregon, where I worked as a secretary at a law firm. After a year, I quit and lived off of my savings while I worked on The Painted Kiss.

Good To Know

Some interesting outtakes from our interview with Hickey:

"My mother is a Presbyterian minister whose specialty is funerals."

My favorite food is marzipan."

"When I was four years old my ambition was to be in the Olympics. It stayed my ambition well into high school, when I was a serious competitive swimmer. To this day I despise water so much I dislike taking showers, and I have recurring nightmares about practices and meets."

"My current hobbies are yoga, hiking, and travel. In 1997, my then-boyfriend, now husband and I went on a seven-week trek through Central America, riding local buses and staying in dives that in some cases were no more than stapled-together cardboard boxes. I had never been farther from the U.S. at that point than Halifax, Nova Scotia. We saw Mayan ruins in Belize, volcanoes and truckloads of soldiers in Guatemala and El Salvador, colonial architecture and coffee fields in Nicaragua, toucans and howler monkeys in Costa Rica. Since that first wildly adventurous trip, I have been to Austria, Hungary, Czech Republic, Poland, Spain, Portugal, and England. I never want to stop traveling!"

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    1. Hometown:
      Portland, Oregon
    1. Date of Birth:
      April 2, 1971
    2. Place of Birth:
      Louisville, Kentucky
    1. Education:
      B.A., Williams College, 1993; M.F.A., Columbia University, 1999
    2. Website:

Read an Excerpt

One

Jane Burden was considered the plainest girl on Holywell Street, and that Oxford slum was home to many worthy contenders for the title. Mary Porter, who was afflicted with a lazy eye and copious freckles, lived there, just across the street from Alice Cunningham, who had crooked, discolored teeth and thinning hair. Number 142 was the residence of Catherine Blair, whose neck and ear had been horribly burned when she was a baby, and whose left leg was somewhat shorter than the right. But even she was considered marginally better looking than Jane.

Though Jane had no discernible deformities, her neighbors had their reasons for attributing to her a surpassing ugliness. First of all, she was tall. There were, perhaps, young women who could carry this height gracefully, but Jane was not one of them. Self-conscious, she stooped. Her limbs were ungainly and she often stumbled, or knocked into tables, or hit her head on something. Her neck was very long, and in spite of her dressmaking skill, her sleeves were always too short and her bumpy, bony wrists stuck out awkwardly.

She was also too skinny. She had no breasts to speak of, though she was already seventeen, and no hips. The old ladies shook their heads and told her mother that she would not have children. When she was reproached with this, she thought to herself that it was terribly unfair to be blamed for something that was not her fault. She couldn't help it that her father and her brother claimed the largest share of the thin vegetable stews and coarse loaves of bread that were all they had. Of course, somehow her sixteen-year-old sister, Bessie, who had as little to eat as she did, still managed to have rounded cheeks and a respectable bosom.

Jane's hair was as coarse as a bristle brush and curly. Occasionally she used a hot iron in an attempt to create orderly waves, and she regularly stole from the stable the oil used to shine the horses' coats, but neither iron nor oil worked as well as she would have liked.

But it was her expression that truly made Jane Burden plain. For she seldom smiled, and her green eyes, which might have been considered striking on another girl, were empty. They weren't sad; sadness could be fetching. They were not grave and serious or soft and pleading or tearful and melancholy. They were blank. Jane's eyes told everyone who met her of her misery and her despair. They told of a girl who had ceased to hope for anything, who had gone deep inside herself to withstand her lot. It made the others uneasy.

Jane fretted about her ugliness, of course. A poor girl's looks were all she had, and without them she could never hope to marry. Without marriage her life would be even worse than it was now. If she was lucky, she could work in the kitchens at one of the big estates. If she wasn't lucky, she'd be a scullery maid in a household one step above her own.

But brooding only made the situation worse. It put a wrinkle of worry between her thick, dark brows and twisted her bow-shaped lips into a grimace.

On this day, however, her lack of beauty was not foremost among her worries as she descended the vertiginous cellar stairs. Her primary concern was supper. Her mother would expect the meal to be ready when she stumbled home from an afternoon of gin and neighborhood gossip, and Jane wasn't sure she could fashion a stew out of the little they had. Were there any carrots left at the bottom of the bin? Were there any onions that weren't rotten, or any potatoes that weren't black and bitter? Perhaps she could send Bessie out to look for some mushrooms.

It wasn't until she reached the third step that the stench of fermenting urine and excrement enveloped her. She gasped and nearly fell, gripping the rickety banister for support.

"Bessie!" she shouted back up the stairs. "It's happened again!"

Their house always stank of waste, of course; it was next to the Holywell Street privy. Jane had grown accustomed to it. But the strength and power of the foul odor was so strong she gagged and retched into her apron. When she was finished she untied it and tossed the soiled garment over the banister. Then she forced herself down the steps and into the cellar. She held her candle high and scanned the walls.

Her shoes slopped in mud. She followed the wretched stream to its origin, a crack in the mortar of the south wall, two feet from the floor. Human feces was oozing through and dripping down the stonework.

Jane heard her sister at the top of the stairs.

"Is it the privy?" Bessie cried.

"Of course it's the privy," snapped Jane. "Bring me the mop and bucket."

"Why does this always happen to us?" Bessie whined. "Why are we so unlucky?"

"Luck has nothing to do with it," said Jane grimly. "Now, hurry. And bring me a rag, too. We need something to stuff in the crack."

"We need a new house," muttered Bessie, but she did as she was told.

Bite your tongue, thought Jane. They had lived in four houses in three years, each more terrible than the last. Though she could not imagine what could be worse than living next to the privy. There was the smell, of course, and the periodic flooding, but what Jane hated the most was the fact that everyone on the street walked by their house to use it, stopping to peer in the windows and make rude comments.

The house was hardly more than a cottage, with one room for eating and cooking and another where the five of them slept on straw pallets. It had been made, as many of the street's houses had, from river rock that had been broken into brick-size pieces, but it had not been made well. The entire structure listed to the left, and the windows and doors weren't true. It looked as if it might collapse at any moment. In fact, one of the street's houses had collapsed a few years before, killing a woman and three children, "and some very good laying hens," as Jane's mother had put it.

No, she couldn't imagine anything worse. Even to live out in the open, in the rain and snow, might be uncomfortable, but at least there would be fresh air. Bessie appeared at the top of the stairs.

"How did it happen?" she asked, holding out the mop, bucket, and rag.

"The night soil men must not have come," said Jane. "Or there's a hole in the container."

"Well, I'm not going to mop up that filth," Bessie announced. She sat down on the top step and smoothed her skirt as if she were attending a luncheon party.

"Do you know how furious Mrs. Burden will be if she comes home and finds the cellar flooded with this?" said Jane.

"Mrs. Burden will be too drunk to notice," said Bessie. To each other, they never called their mother Mum or Mummy, but only Mrs. Burden.

"She'll notice when there's no dinner, and all the vegetables are ruined," said Jane. But Bessie would not be moved.

"You know there wasn't anything down there worth eating, even before it was submerged in filth." She pulled her needle and thread out of her apron pocket. "I've got sewing to do. There's a tear in my blue tarlatan, and I wanted to wear it to the theater tomorrow night."

With a sigh Jane went back into the muck of the cellar. The fetid sludge had risen to her ankles. She was concerned that the pressure on the wall might bring the whole thing down. Jane could only pray that stuffing the crack would hold it until someone, her father or the neighborhood mason, could patch it.

Jane filled the bucket and carried it upstairs and out into the street. She didn't want to dump it back into the leaking privy, so she used the drainage ditch next to the Gibbons's house. Bessie held her nose daintily each time Jane passed. After fifteen trips the leak in the wall had slowed to a trickle but the dirt floor was still a morass. Jane went to the ash pit and filled her bucket with ashes. She threw them down on the cellar floor. The smell was still horrific, but there was nothing to be done about that.

Jane heard shouting from upstairs. "Why is the fire out? Where's the supper? Jane? Bessie?"

Their mother was home.

Jane trudged up the stairs. Her shoes and the hem of her skirt were soaked with brown liquid. Her blouse was gray with ash, and her face and hair were streaked with ash and sweat.

Ann Burden stood rather unsteadily in the doorway. She'd been a farm girl once, and had the freckles and the lines around her eyes to prove it. Never a beauty, the years of hard work, first in the fields and then in Oxford's most squalid neighborhood, had taken their toll. One of her hips was higher than the other and rolled when she walked, or rather, limped. Everything about her was hard: her eyes, her jaw, her sinewy body. Only when she was drunk did her features soften into maudlin self-pity.

When she caught sight of Jane, she screamed with fury. Jane reflected that, in a way, she was lucky because she was too disgusting to be hit. To hit her, her mother would have to touch her.

"What have you done?" Mrs. Burden hissed.

"The privy overflowed again," said Bessie helpfully.

"So you thought you'd go swimming in it?" her mother said sarcastically.

"I was trying — "

Mrs. Burden cut her off. "Trying to track that filth all over the house? Trying to disgust me more than you already do?"

"I was trying to clean up the mess," Jane said. She felt like crying, but that would only enrage her mother further.

"Useless girl," said Mrs. Burden. "What did I ever do to deserve a daughter like you? Ugly as an old shoe, you are, and twice as worthless."

Jane said nothing to her mother because what was there to say? The only thing to do was to let the tirade run its course.

"I told her we should wait until you got home, but Jane never listens to me," said Bessie.

"Shut up, Bessie," said Mrs. Burden, "and start the supper. I want to speak to Jane alone."

"What will I use for vegetables?" whined Bessie.

"Go down to the cellar, find something that looks usable, bring it up, and wash it off," said Mrs. Burden, not looking at her. Bessie hesitated.

"But — " she began.

"Go!" shouted Mrs. Burden. With a little squeak Bessie ducked her head, as if to ward off a blow, and was gone.

Mrs. Burden beckoned Jane into the kitchen. She lumbered over to the rocking chair and lowered herself onto it with a groan, but Jane knew better than to sit. She stood in front of her mother and waited.

"I met Mrs. Barnstable tonight," said Mrs. Burden. "You are to walk with her son Tom this Sunday after church." She smiled slyly as she waited for Jane's reaction.

Jane's throat closed. Her collar was choking her. Tom Barnstable was a tall, gangly youth of twenty with a walleye and a face erupting in pustules. His name was ridiculously appropriate, as he and his father both worked at the stable with her father.

"Think you're too good for him, don't you?" said Mrs. Burden, watching her face. "Well, let me tell you something. With your looks you'd be lucky if Tom Barnstable would have you. And believe me, I'm going to do everything I can to make it happen. You'll not be hanging around here, a millstone around my neck until the day I die, if I can help it."

"I won't go," said Jane faintly. "Tom is a bully. He hits his little sisters; I've seen the bruises."

"An ear boxing or two would do you good," said Mrs. Burden. "I've spoiled you, letting you go to that school, letting that Miss Wheeler lend you books. You've gotten above yourself. I have a feeling Tom will keep you in line."

"Please," whispered Jane.

"You're going to walk with Tom on Sunday. You're going to wear Bessie's pink bonnet, which doesn't help much but at least gives your face a little color, and you're going to be as charming as you can possibly be," said Mrs. Burden. "Now get out of my sight."

Jane ran out the door and into the street. It was not yet dark and she hoped that she would not meet anyone. Her clothes were still damp and the wind chilled her. She ran down the street toward town.

Jane sometimes imagined that she lived far away from Oxford. Usually she pretended that she lived in the Balearic Islands, which she had read about in a geography book. It was warm there, she knew. You could live in a raffia hut lapped by the sea and eat lobster stew by the bowlful. This time she tried to imagine that she lived in London, in a brick town house on a fashionable street. She would have a cook who would make lamb stew, piping hot and fragrant with rosemary, and rolls dripping with butter. For dessert, she would eat sponge cake with caramel sauce, and strawberry trifle. Jane would wear goat's-hair shawls from India and fine silk dresses from China.

Sometimes Jane's daydreams comforted her, but not today. She could not escape the fact that she was cold and dirty. She couldn't pretend that she was pretty. She was ugly and she must marry Tom Barnstable or no one.

Jane finally stopped at the end of Holywell Street; she couldn't go on into town covered in filth. She tried to think of somewhere else to go, but there was nowhere else, so she turned and started back.

Halfway home she heard a cat yowling and she quietly stepped into a doorway, hoping not to be seen. A tortoiseshell cat hobbled pathetically by her, dripping blood from its ear. Then she heard pounding footsteps and Tom Barnstable ran by, a stone in his hand, an expression of glee on his face. He did not see her.

My future husband, she thought, and then she did cry, sliding to the hard stone step and burying her face in her stinking skirt.

Copyright © 2007, Elizabeth Hickey

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Introduction

Reading Group Guide/ Wayward Muse -- Elizabeth Hickey
Introduction

Jane Burden is a plain girl, with unremarkable looks and a destitute upbringing. She lives in a run-down house next to the public toilets in the slums of Oxford, England, a daily reminder her that her existence is nothing more than waste and filth. Jane's abusive mother rules the house with an iron fist, and her father and brother spend all of their time and the little money they earn at the local pub. But when a band of carousing artists arrive in town to paint the interior of the Oxford Debating Hall, they discover in Jane a beauty she never knew she possessed. Dante Gabriel Rossetti, the leader of the group, is so taken with Jane's gray, somber eyes, her slender frame, and her dark hair, that he falls immediately in love with her and insists that she sit as the model for his painting of Guinevere. Jane, swept up by Rossetti's attentions and affections, falls for him in turn, and they commence a secretive and passionate affair. When Rossetti disappears without explanation, however, Jane is crushed. In his absence, Rossetti's friend, William Morris, remains in Oxford, and asks Jane to continue modeling for him. Though his talent and passion cannot compare to Rossetti's, Morris is a polite and thoughtful man, and he gradually wins Jane over by his steadfastness. But Jane hangs on to the memory of Rossetti, and when at last the artists and the lovers are reunited, old flames and friendships are rekindled and new jealousies and secrets emerge.

Group Discussion
1. When Rossetti inquires about the details of Jane's background he quips, "Poor Jane! All that is needed is three wicked stepsistersand a pumpkin coach." In what ways is The Wayward Muse a Cinderella story? Can you think of any other fairy tale archetypes that Jane Burden embodies?
2. What did you think about Jane before Rossetti discovers her? What was it about her that he thinks is so special? Rossetti nearly convinces her that "she was a princess taken from her royal position at birth and placed with a lowly family for her protection." But Mrs. Burden accuses Jane of condescension and "[getting] above herself." What do you imagine Jane's fate would have been had Rossetti not entered her world?
3. Who determines beauty and how is it measured? It seems that once Rossetti declares Jane a great beauty, everyone else awakens to her charms and agrees with him. How is beauty determined in today's society? Do you see the same effect, in which one person of great influence calls something beautiful and the masses follow suit?
4. In their attempts to seduce Jane, both Rossetti and Morris bring her to places high above the ground -- Rossetti to the rafters of the debating hall and Morris to the bell tower of Chartres. She asks Morris: "What is it with you artists and high places?" And he replies, "Perspective. To see things in surprising ways you have to extend yourself a bit." What perspectives or roles does Jane take on in this story? What do you think surprises her? Where do you think she is most comfortable, or true to herself?
5. Both Rossetti and Morris idolize Jane's beauty to the point that she becomes iconic and legendary. Her response to this status ranges from disbelief to flattery to embarrassment to needing the attention. What events or circumstances precipitate these varied reactions? How do you feel about Jane's transformation and her acceptance of her own beauty? Does she use the power of her beauty well?
6. Were you surprised at the friendship between Lizzie and Jane? What do you think about Rossetti's love for both of them -- are they equal in his eyes, or different? Rossetti says that, "Neither side of the coin is superior to the other. The dark must have the light, the strong the weak, the sharp angle the soft curve." How is this statement a reflection on these two women? How is it a reflection on his friendship with Morris?
7. Both Morris and Rossetti venture into other art forms, experimenting with poetry, interior design, and artisan-style crafts. Why, if Rossetti has won such acclaim for his painting, is he so destroyed by criticism of his poetry? Was he right to retrieve his work from his wife's grave? How does Morris respond to the praise he receives for his book?
9. What do you make of Morris's "arrangement" for Jane and Rossetti? Is it a noble attempt to gracefully bow out of their marriage, or is it a desperate attempt to maintain involvement in Jane's life?
10. Discuss the title of the book. Is Jane the only muse in the story, or does she have muses of her own? Who, in the novel, could be called "wayward?"

Tips To Enhance Your Bookclub
1. Print out images of Jane in the Blue Silk Dress and as Prosperine at http://en.wikipedia.org/wiki/Jane_Burden.
2. Read aloud selected works of Tennyson and Keats, who served as Morris's poetic inspiration.
3. Plan a craft -- cover notebooks in William Morris-style wallpaper or buy a stained-glass coloring book!
Read More Show Less

Reading Group Guide

Reading Group Guide/ Wayward Muse — Elizabeth Hickey

Introduction

Jane Burden is a plain girl, with unremarkable looks and a destitute upbringing. She lives in a run-down house next to the public toilets in the slums of Oxford, England, a daily reminder her that her existence is nothing more than waste and filth. Jane's abusive mother rules the house with an iron fist, and her father and brother spend all of their time and the little money they earn at the local pub. But when a band of carousing artists arrive in town to paint the interior of the Oxford Debating Hall, they discover in Jane a beauty she never knew she possessed. Dante Gabriel Rossetti, the leader of the group, is so taken with Jane's gray, somber eyes, her slender frame, and her dark hair, that he falls immediately in love with her and insists that she sit as the model for his painting of Guinevere. Jane, swept up by Rossetti's attentions and affections, falls for him in turn, and they commence a secretive and passionate affair. When Rossetti disappears without explanation, however, Jane is crushed. In his absence, Rossetti's friend, William Morris, remains in Oxford, and asks Jane to continue modeling for him. Though his talent and passion cannot compare to Rossetti's, Morris is a polite and thoughtful man, and he gradually wins Jane over by his steadfastness. But Jane hangs on to the memory of Rossetti, and when at last the artists and the lovers are reunited, old flames and friendships are rekindled and new jealousies and secrets emerge.

Group Discussion

1. When Rossetti inquires about the details of Jane's background he quips, "Poor Jane! All that is needed is three wicked stepsisters and a pumpkin coach." In what ways is The Wayward Muse a Cinderella story? Can you think of any other fairy tale archetypes that Jane Burden embodies?

2. What did you think about Jane before Rossetti discovers her? What was it about her that he thinks is so special? Rossetti nearly convinces her that "she was a princess taken from her royal position at birth and placed with a lowly family for her protection." But Mrs. Burden accuses Jane of condescension and "[getting] above herself." What do you imagine Jane's fate would have been had Rossetti not entered her world?

3. Who determines beauty and how is it measured? It seems that once Rossetti declares Jane a great beauty, everyone else awakens to her charms and agrees with him. How is beauty determined in today's society? Do you see the same effect, in which one person of great influence calls something beautiful and the masses follow suit?

4. In their attempts to seduce Jane, both Rossetti and Morris bring her to places high above the ground — Rossetti to the rafters of the debating hall and Morris to the bell tower of Chartres. She asks Morris: "What is it with you artists and high places?" And he replies, "Perspective. To see things in surprising ways you have to extend yourself a bit." What perspectives or roles does Jane take on in this story? What do you think surprises her? Where do you think she is most comfortable, or true to herself?

5. Both Rossetti and Morris idolize Jane's beauty to the point that she becomes iconic and legendary. Her response to this status ranges from disbelief to flattery to embarrassment to needing the attention. What events or circumstances precipitate these varied reactions? How do you feel about Jane's transformation and her acceptance of her own beauty? Does she use the power of her beauty well?

6. Were you surprised at the friendship between Lizzie and Jane? What do you think about Rossetti's love for both of them — are they equal in his eyes, or different? Rossetti says that, "Neither side of the coin is superior to the other. The dark must have the light, the strong the weak, the sharp angle the soft curve." How is this statement a reflection on these two women? How is it a reflection on his friendship with Morris?

7. Both Morris and Rossetti venture into other art forms, experimenting with poetry, interior design, and artisan-style crafts. Why, if Rossetti has won such acclaim for his painting, is he so destroyed by criticism of his poetry? Was he right to retrieve his work from his wife's grave? How does Morris respond to the praise he receives for his book?

9. What do you make of Morris's "arrangement" for Jane and Rossetti? Is it a noble attempt to gracefully bow out of their marriage, or is it a desperate attempt to maintain involvement in Jane's life?

10. Discuss the title of the book. Is Jane the only muse in the story, or does she have muses of her own? Who, in the novel, could be called "wayward?"

Tips To Enhance Your Bookclub

1. Print out images of Jane in the Blue Silk Dress and as Prosperine at http://en.wikipedia.org/wiki/Jane_Burden.

2. Read aloud selected works of Tennyson and Keats, who served as Morris's poetic inspiration.

3. Plan a craft — cover notebooks in William Morris-style wallpaper or buy a stained-glass coloring book!

Read More Show Less

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Sort by: Showing all of 5 Customer Reviews
  • Anonymous

    Posted July 28, 2007

    Interesting Concept

    Hickey borrows Tracy Chevalier's concept of focusing on the artist's model. She does a good job of creating a believable character for Jane Burden, but the other characters (Rosetti, Morris, Siddall, Burne-Jones) are rather shallow. I found it a bit difficult to get through the last quarter of the book as my interest in Jane dropped considerably.

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  • Posted December 9, 2008

    more from this reviewer

    terrific historical biographical tale

    Jane Burden knows she is ugly having heard that from her mother as well as family, friends, and neighbors. She is too tall, with a freakishly long neck, arms and legs that belong on someone even taller, which leads to clumsiness and dresses that just never fit right. Adding to her being considered the ugliest female in the Oxford slums is that at seventeen she has no breasts. She expects to wed physically abusive Tom Barnstable as her mother reminds her that he is the best she will ever have. Everything abruptly changes when noted artist Dante Gabriel Rossetti sees Jane and thinks she is a rare beauty he must paint as his Guinevere in a mural. Her mother agrees to allow her to pose because of the fee Rossetti provides. Jane enjoys her short time each week with the painter and his colleagues. She soon realizes she loves Rosetti, but is heartbroken when he weds his ailing fiancée Lizzie. Jane accepts wealthy William Morris¿ proposal mostly because he as Rossetti¿s friend and protégé will enable her to remain near her true love. Over the next few years Jane gives birth to two children, but when Lizzie dies, Rossetti makes it clear how he feels about his Guinevere, which upsets her spouse William, who has always known he was a second choice. --- The key to this terrific historical biographical tale is the ability of Elizabeth Hickey to bring to life four real people from the latter half of the nineteenth century. The story line is driven mostly by the heroine who thanks to the artist turns from an ugly duckling into a beautiful swan considered the ideal of pre-Raphaelite beauty and the muse for her spouse and the artist. Fans of period pieces will enjoy this deep rich Victorian Era tale starring real persona. --- Harriet Klausner

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  • Anonymous

    Posted August 14, 2011

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  • Anonymous

    Posted August 6, 2009

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  • Anonymous

    Posted December 29, 2010

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