"Northern Rain" -- a new N&S variation by Nicole Clarkston

I'm always excited to see more people fall in love with North and South and John Thornton! Today, I'm pleased to introduce my readers to someone who has just recently published her second N&S variation: author Nicole Clarkston. 

But before you dash off to purchase it! -- find out a little more about Nicole's thoughts about Gaskell's story in my brief interview with her:

When did you fall in love with N&S?

I found it on Netflix in 2011, and at first I confused it with the Civil War drama by the same name. I was skeptical because the descriptions did the miniseries a terrible disservice, but I had watched Pride and Prejudice enough for one week, so I gave it a go. I had decided to rip up my carpets and refinish my wood floors while my husband was out of town for a week. Since my kids were at that time aged 3-6, I did most of my work at night, with them sleeping in a tent in the yard away from the fumes.

To keep me awake, I dragged my laptop, streaming the movie, around the house as I hand-finished my floors. North & South had me hooked within minutes, and I watched it more times than I could count in that week! I would be embarrassed to confess how many times I re-watched The Kiss. I even took a break from my floor sanding to drive all the way across Portland to get my hands on the only book on the shelf in the whole city. As always, the movie, while excellent, cannot hold a candle to the book. The cover is about to fall off, and my favorite passages have permanent bookmarks stuck in them, but Elizabeth Gaskell’s prose never fails to delight. The story is everything raw and authentic; a picture of immortal romance in the midst of regular human struggles.

As an aside and a compliment to you, Trudy, I must say that very soon after reading North & South, I found In Consequence and A Heart For Milton. I truly enjoyed both. It salved my poor angst-ridden obsession to see poor John and Margaret find the courage to trust in one another a little earlier. Thank you for leading the way! 

You're welcome, it was my pleasure and intention to give readers pages upon pages of what Gaskell had denied us until the very end: John's trembling joy in finding love. John Thornton is such an amazing character, repressing his passion for Margaret through the events of two years and several hundred pages (or almost four hours of film time). Tell me, do you envision Richard Armitage as your John Thornton?

It would be impossible not to! I have never seen another actor who can so masterfully relay such deep emotions with nothing more than a single movement of his eye or a flinch of his cheek. Wow, absolutely breathtaking performance! It is true that I saw the miniseries first, so my view was somewhat prejudiced, but he perfectly presents the reserved man of mild expression and torrential emotion. He truly captured the essence of Thornton the titan, while tastefully portraying the vulnerabilities inherent to his character.

The scene where she is serving him tea was just priceless. The awkward hope in his eyes, desperate to prove himself worthy of her approval, is matched only by the growing passion that takes him completely by surprise. I absolutely love the double take that Richard does when Daniella first walks into her father’s study, and he is properly introduced to her. I envision Gaskell’s first meeting in the book starting off something like that.

What do you love about Gaskell's story?

It is so rich, it would be difficult to distill my response to a few sentences. We all love the pie-in-the-sky romances, but the world is not like that. This is how true love plays out; the exquisite revealing itself to us right in the middle of the prosaic. Another thing I adore is Thornton’s sacrificial love for Margaret. He is willing to put his own honor on the line for a woman he “knows” will never return his affections. He loves her despite her unloveliness, and somehow manages to see perfection while not being blinded to her faults. Gaskell had very strong notions of honor, and they shine through brilliantly. It is painful yet delicious how both eventually come to the defense of the other; neither expecting reciprocation. They simply do so because it is right, and their faithfulness is rewarded in the end.

You've written a Pride & Prejudice variation as well. What have you found to be similar or especially different in writing N&S stories?

As a reader, I am thoroughly charmed by tasteful humor in a love story. So much of life works better if we can laugh at ourselves. As a writer, I hope to capture a little of that as well. With Pride and Prejudice, lightness comes so easily, and I think that is one reason we can point to for the dominance of P&P variations. Elizabeth “dearly loves to laugh” and some of Austen’s characters are her own tongue-in-cheek impressions of other people whom she found amusing. The setting in rural England is gentle, and in the end, our dear couple goes to live in a castle of sorts. We are free to imagine them living out their days in almost perfect harmony.

Nicole's P&P variation.

In North & South, we do not have those luxuries. Gaskell immerses the reader deep into hardship and suffering. Thornton lives and breathes it every day, and Margaret is almost a lifeline to everything he has long been denied, but believes exists somewhere in the world. Gaskell speaks of his sense of humor and how guileless he was in everything he enjoyed, but those moments are sparing. We do not see Margaret really laughing at all, so overcome is she by the harshness of her surroundings. The last glimpse we have of the couple is of a gentle tease, a tender moment, and then we drop the book wondering “What now?”

Even at the end of the story, Gaskell does not tie everything up in a neat little bow for us, setting the world perfectly to rights and ensuring that our dear couple will never face hardship. In fact, we are practically assured that they will. They go back to live and work among squalor, and if we know our couple well, they will feel burdened to do something about it. The confidence that we do have is that they will no longer struggle alone. In that, I believe Gaskell’s tale is so much more attainable. The union of a co-laborer and a partner is the essence of an equal marriage. Perhaps one might say that North & South is the more mature love story of the two, being written by a wife and mother who was intimately acquainted with loss, as opposed to the hopeful, whimsical tale of a woman who never married. (And here I put up my umbrella to fend of the flying vegetables from the audience.)

Tell us a bit about you new variation. What is the premise?

There are so many points in the original where I personally was screaming at one or the other of them to say something! One of the most painful was in the aftermath of the train station debacle. Thornton thinks Margaret has a lover and is willing to lie to conceal her disgrace, and Margaret thinks (accurately) that she has lost whatever respect Thornton ever had for her. She is finally starting to regret that.

In Northern Rain, we see Margaret feeling a little sorry for Thornton after she witnesses him in a moment of genuine, unguarded vulnerability. It gives her the courage to try, in some measure, to explain herself. She is still unwilling to betray Frederick, but she is desperate to improve Thornton’s opinion of her. As they slowly build something of a working friendship, Thornton’s continued closeness to the family at a time when, in the original, he had begun to pull away, reveals Mr Hale’s failing health to him. How might matters have changed for all if Thornton made some intervention? During this time, however, Thornton was facing hardships of his own. At a time when he most wants propose again and is most sure of his reception, he truly has no business offering marriage to anyone. Poor Thornton, it is so delightful to torment him!

I have to agree, tormenting Thornton is a delicious pleasure! Thanks to Nicole for giving us some great insights into her perspective of North and South.

Author Bio:

Nicole Clarkston is the pen name of a very bashful writer who will not allow any of her family or friends to read what she writes. She grew up in Idaho on horseback, and if she could have figured out how to read a book at the same time, she would have. She initially pursued a degree in foreign languages and education, and then lost patience with it, switched her major, and changed schools. She now resides in Oregon with her husband of 15 years, 3 homeschooled kids, and a very worthless degree in Poultry Science (don't ask).

Nicole discovered Jane Austen rather by guilt in her early thirties- how does any book worm really live that long without a little P&P? She has never looked back. A year or so later, during a major house renovation project (undertaken when her husband unsuspectingly left town for a few days) she discovered Elizabeth Gaskell and fell completely in love. Nicole's books are her pitiful homage to two authors who have so deeply inspired her.

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Marrying for love in North & South

Elizabeth Gaskell begins her novel with one wedding and ends it with the imminent prospect of another. In the opening pages, eighteen year-old Margaret Hale is caught up in the flurry of preparations for Edith's forthcoming wedding. And by the end of chapter two, Gaskell has depicted the general outcome of two marriages (the Shaws and the Hales). Clearly, Gaskell has something to say on the subject of choosing a life match. And well she should, since her heroine has arrived at the threshold of the marriage mart and will need to navigate her way through two unexpected proposals and the possibility of spinsterhood.

Should one marry for money or love? This appears to be the rather stark choice presented to every Victorian girl. Gaskell gives us a glimpse into the result of both choices by comparing two sisters. 

Margaret's Aunt Shaw married for money. She chose to marry a man she didn't love who was much older. She has every material comfort and no financial woes.  Aunt Shaw romanticizes the concept of marrying for love and insists that Edith marry for love. Regularly complaining of the age disparity in her marriage of convenience, Anna Shaw imagines that her sister must be happy:

'Married for love, what can dearest Maria have to wish for in this world?' Mrs. Hale, if she spoke truth, might have answered with a ready-made list, ' a silver-gray glacé silk, a white chip bonnet, oh! dozens of things...."

the BBC's Maria and Richard Hale

Mrs. Hale married for love, but has found it difficult to be happy with the modest income and somewhat isolated life of a country parson's wife. She complains that her husband hasn't risen to a more profitable and socially satisfying position. 

Gaskell doesn't present a clear winner out of either of these two marriages. Is there any hope that her protagonist, Margaret Hale, will find some kind of happily-ever-after? How should she choose a life partner?

The answer may lie in looking a little closer at what "marrying for love" may mean in different cases.

Mr Hale and his wife may have been in love, but they don't seem well suited to each other on an intellectual level. Gaskell points out that early on in their marriage, Mr Hale wanted to spend time reading aloud to his wife but that she was annoyed with it. Thus, he began to retreat to his study and read alone. 

So, in finding a good match, it's best to match both hearts and minds. It's important to find someone who engages your mind and enjoys similar pursuits or you may find your marital bond weakening instead of strengthening.

Henry Lennox gets a "no" from Margaret.

Margaret's rejection of Henry Lennox tells us much about what she expects, consciously or unconsciously, from marriage. When Henry asks if he may still hope that she may someday accept him as a lover, she is "silent for a minute or two, trying to discover the truth as it was in her own heart." Ultimately, she couldn't say "yes" when her heart said "no." She clearly intends to marry for love. Henry is a good catch for her, according to the prevalent assumptions of what a girl should aim for, yet she wasn't at all tempted to accept. 

Marriage isn't even on Margaret's mind at the time Henry proposes. She doesn't seem to be worried about who or when she'll marry at all. She's just happy to return to her home in Helstone. Securing a comfortable position as someone's wife isn't on her current agenda.

Someone else in this story also doesn't appear to be thinking about finding a spouse: John Thornton. He hasn't been making any plans or showing any interest in the ladies that his mother says are pursuing him. 

What are John's expectations of marriage? There's no indication that he had planned on marrying at all. He has been too occupied with his work. 

What was the model of marriage his parents left for him? We can only surmise that Hannah Thornton may have loved her husband, however much pain his suicide caused her. She wears black, the color of mourning, years after first becoming a widow. She has kept with pride the Dutch damask napkins with her husband's initials, given as a wedding present, through all the years of hardship. She never speaks unkindly of him or seems to blame him with bitterness.

If it's possible, then, that Thornton recalls his parents' marriage as one based on real affection, then it's certain that Fanny was too young to remember anything of her mother's marriage at all. Fanny doesn't appear to have any other aim than to marry well according to social status and wealth. She, like Aunt Shaw, chooses to marry a rich, older man.

It's fascinating to watch how Margaret and John  discover that they have found someone that they want to marry -- someone who engages their heart and their mind -- when marriage had been the furthest thing from their minds! 

John Thornton also gets a "no."

It's a rocky road to love. Margaret is compelled to say "no" to the second offer of love she receives because she isn't aware that she is falling in love with the Milton master yet. Too much confusion. 

And by the end of the novel, when Margaret tells Edith she will never marry, the reader knows it's because she will not compromise on marriage. She will marry for love, or not at all. And she believes that the door to marital bliss has been closed forever for her.

And that mistake is all cleared up in the last two pages....

When do John and Margaret Stop Arguing?

The BBC's John Thornton tries to recover from Margaret's rejection.

No, this isn't a trick question. There's a definite end to their arguing in the book. And you may be surprised at the answer. 

When John comes to declare his love for Margaret the morning after the riot, the tense relationship between the master and the Milton newcomer reaches a blistering vocal climax. Pent-up emotions on each side explode into forceful words and both are left stunned by the unexpected vehemence of their exchange. 

Margaret is temporarily immobilized after Thornton's departure.

After this staggering tempest, the dynamic between these two strong-minded individuals is forever changed. After this day, Margaret never again raises her voice to argue against him. In fact, the very next day she finds herself defending Thornton to a grieving and bitter Higgins.

The end of the verbal battles between Thornton and Margaret comes precisely at the half-way point of the book. The remaining two hundred pages of the story reveals a softer, meeker Margaret in relation to Thornton. She is jolted into taking a closer look at the man behind the master's mask.

Thornton is too bitterly jealous to really see a softer and repentant Margaret.

But wait, isn't there still bristling friction between these two passionate people throughout the second half? Yes, of course. But it no longer stems from any perceived ideological or character differences. Outbursts in this portion of the drama erupt not from an indignant Margaret but from an emotionally tortured Thornton, who simply cannot control his bitter jealousy.

The potent tension between Thornton and Margaret after the failed proposal is the result of repressed passions and the accumulation of misunderstandings. The unfortunate havoc wrought by Frederick's appearance convinces Thornton that Margaret loves another and causes Margaret to believe Thornton could never love a confirmed liar. The mistaken belief that they are despised by the other costs both of them almost two years of unnecessary suffering.

This is wholly romantic tension, which has nothing to do with socio-economic conflicting opinions. And it is not resolved until those final pages (or the illustrious train station scene), when their pathetic illusions dissolve in the glorious light of reality.

The very last page has playful arguing between the lovers -- perfect.

Was it Love at First Sight for Thornton?

Valentine's Day has come and gone, but I'm still thinking about the celebration of romantic love. It's the perfect reason for taking a closer look at the dizzying emotional whirlwind we call "falling in love." Eros is that that form of love that can make mature adults suddenly feel like awkward teenagers and send perfectly rational people into frenzies of mildly insane behavior.

Was it love at first sight for Thornton when he met the Southern girl from Helstone? Something definitely happened in those first few moments of being in Margaret's presence that rocked the mill master's world.

The book's first meeting between John and Margaret may seem dull compared to the explosive action in the BBC's version of North and South, in which the vicar's daughter plays the moral hero against the onslaught of violence erupting from the cotton factory's CEO. But if you take a closer look at Gaskell's narrative, the scene she wrote is far from dull. Although Margaret is wishing her father's Milton contact would leave so she could take a nap, there are some internal fireworks going on inside the Thornton systems that the man can barely contain. 

BBC's John Thornton surveys newcomer Margaret Hale

Let's take a look at what's going on with Thornton. He's taken by surprise the very moment Margaret enters the room: first, because she isn't Mr. Hale (or a little girl) and second, because she is "a young lady of a different type to most of those he was in the habit of seeing."  

What is is that sets Margaret apart from the rest? What is he seeing? She has a self-composed natural dignity, a straight-forward unabashed manner, a simple yet elegant costume, and a beautiful countenance. All this he notices in a few seconds.

Then Margaret speaks: "Mr. Thornton, I believe." 

And he can't even formulate a response! "The ready words would not come."

He's standing there, staring at her, already tongue-tied. Can you picture this? I hope he at least remembered it's not polite to leave your mouth hanging open!

Since Thornton seems mute, Margaret takes command of the social situation. Explaining that her father will return soon, she asks Thornton to sit. Here's how Thornton -- venerated Milton magistrate and master over hundreds of men -- reacts: 

"Mr Thornton was in habits of authority himself, but she seemed to assume some kind of rule over him at once. He had been getting impatient at the loss of his time on a market-day, the moment before she appeared, but now he calmly took a seat at her bidding." 

He manages to utter something about going to find her father. And as she replies about the house her family intends to take, Thornton suddenly feels that the place he approved for the Hales in Crampton will not be good enough "now that he [sees] Margaret with her superb ways of moving and looking."

Okay, so now she at least got him to sit down, but I don't think he's been able to take his eyes off of her. I mean, he's known her for less than two minutes and he's internally raving about "her superb ways of moving and looking?!" I think the man has been gobsmacked.

Margaret, however, has no clue she's causing any internal combustion. But as she takes off her shawl and takes a seat in front of him, Thornton is drinking in every detail of her feminine appearance: 

"... her full beauty met his eye; her round white flexile throat rising out of the full, yet lithe figure; her lips, moving so slightly as she spoke, not breaking the cold serene look of her face with any variation from the one lovely curve; her eyes, with their soft gloom, meeting his with quiet maiden freedom."

There's only so much that Gaskell can describe while staying within the confines of Victorian propriety, but with these well-chosen words I am imagining Thornton's gaze roving over Margaret's body in a way that is unmistakably sensual. He's watching her lips as she speaks and noticing her bare neck? Whew! But that's not all. If his eyes are sweeping up to notice her throat "rising out of the full, yet lithe figure," I think we can assume he hasn't missed surveying the ample curves found below the neck. Ahem.

Go ahead and read that passage again and visualize where Thornton's gaze is lingering. The physical attraction is potent. 

Yet, it's not merely physical attraction that enchants him. The beauty he sees in her is tied to the qualities she exudes: self-possessed dignity, serene freedom, natural grace, gentle frankness, unshrinking self-confidence and strength. He seems to discern the essence of Margaret Hale in one short occasion. She's a rather amazing blend of both masculine and feminine natures. And Thornton is drawn to her expression of these qualities, so many of which he himself possesses and venerates.

So how does this unexpected powerful attraction to a woman impact Thornton? He's thoroughly discombobulated. He can't formulate full sentences in response to Margaret's attempt to make conversation. He's irritated and mortified to recognize that "while he looked upon her with an admiration he could not repress, she looked upon him with proud indifference." He feels inadequate as a match for her and feels resentment rise at the thought that she must look down on him. And when it's time for him to leave, her respectful bow to him makes him feel "more awkward and self-conscious in every limb than he had ever done in all his life before." 

I love that he exits that scene almost literally off-balance! Even walking is a new sensation when Margaret is in the room.

Can we, then, certify that Thornton has fallen in love at first sight? Well, let's see if we can tic the boxes on a few common elements of what falling in love often looks and feels like:

• Undeniable, strong physical attraction.  √
• Vaulted admiration of character/qualities. √
• Feeling awkward, self-conscious, and unworthy. √
• Bumbling, stuttering like an idiot. √

Whether or not his feelings can actually can be called "love" after such a brief encounter, Thornton has all the symptoms of falling for Margaret at their very first encounter. 

And it only gets worse from him as the story continues. Poor man.

What does North and South mean to you?

If you're like me, you first discovered Gaskell's story as a captivating drama on film. The BBC's television adaptation of North and South made Milton come to life, and brought a little known romantic hero -- John Thornton -- into glorious, palpitating presence on the world stage with a reverberating gasp.

Strangely enough, I didn't feel the impact of my first viewing like I'd been struck by lightening. I only re-watched the ending once (or maybe twice!). I didn't even realize how much I had been pulled into the power of the drama until I found myself constantly reimagining scenes and wondering about the characters's feelings. I plunged into C19 (an Internet forum) within days, because I needed to ask questions. I needed to talk to someone about this story. And I've really never stopped wanting to talk about it.

I've since fallen in love with Gaskell's book. I regularly see its relevance to all the pressing issues of our world today. Gaskell had a heart and mind that saw the human scene with hope.

North and South turned me into an author, it introduced me to a new world of friends and fanship, and it inspired me to dive into similar classic novels. I owe much to Gaskell's North and South, as it's given me so much to think about and to share with others. 

So what does North and South mean to me? It means so many things that lay close to my heart, that it seems daunting to try to explain. But here (beyond the fervent appeal of the gold standard for all romantic literary heroes -- John Thornton) are some of the many hopes, ideals, and concepts found in North and South that invigorate my soul and enliven my heart:

Love. Love in all its variations: erotic and romantic love, brotherly affection, self-sacrificing duty, genuine respect, and consideration for others.

The utter necessity of individuality -- forging your own path and living your own values.

Moral courage -- the strength and determination that moves us forward in crushing circumstances.

Widening our view of the world and our sphere of caring -- interacting with and learning from those different from us.

Seeing past class, gender, religion, and economic status to the equal worthiness of every human being.

Loneliness and the desperation of being misunderstood, and the corresponding desire to cherish and to be cherished.

The overpowering yearning to do good in this world, not just exist in it.

Striving for what matters most.

The possibility of a kinder, gentler capitalism that contributes to humanity's progress.

Hope of harmony in relating to our fellow beings. Finding unity among all mankind.

Finding home, finding our purpose.

These are just some of the many themes that make North and South my favorite novel of romantic love and Elizabeth Gaskell a favorite author for her hope for humanity. 

What does North and South mean to you?