New York City as a Wonderland for Children

If you're in or near New York City this summer, I'd recommend you travel to the upper part of Museum Mile --1220 5th Avenue. That's the address of the Museum of the City of New York. On its third floor is the exhibit "Another Wonderland: Abram Champanier's Alice Mural" that closes on September 27th.

                                     Photo of the artist painting the mural shown above on the X feed of NYC Health System 

The artist was a Jewish immigrant from what was part of Russia in 1896 but then became part of Poland. He changed his last name from Sherschewitz or Szerszewicz to a consistent sound but not consistent spelling. Before he adopted the French-spelling Champanier surname in the 1930s, he used Shampanier, a name that appears on his earlier paintings.

Champanier carried out several commissions for the Federal Art Project of the Works Progress Administration (WPA), though he is probably most celebrated for this whimsical set of 16 murals between 1938 and 1940. The murals graced the hospital ward for 40 years.

However, in 1978, the hospital had lost accreditation, and in 1981 it was slated for a complete gut renovation. The murals would have been destroyed as a result if not for the fact that they had come to the attention of Andrew S. Dolkart of the Landmarks Preservation Commission.

He recollected that even in the empty ward, the panels stood out as “witty and fun and bright," and certainly worth saving. In the course of four days in August 1981 a group of volunteers went in and salvaged 15 of the murals that then had to be painstakingly restored over many years. Now you can see the vibrant colors in living color in-person at this exhibit.

My favorite is probably the library scene. Your favorite may be one of the ones that celebrates the subway, the Stature of Liberty, or whatever part of 1930s New York city you consider most iconic.

How "The Other Bennet Sister" subverts narrative convention

We've seen it countless times in romance films. The unassuming heroine who never thought of herself as a beauty gets a makeover that makes her the most stunning woman at the ball. 

What we've been conditioned to expect 

Disney has practically patented this plain to princess trope from the time that it showed the magical transformation of Cinderella's torn dress into a sparkling gown to the depiction of beauty professionals smoothing the bushy-browed, curly-haired, bespectacled Mia into the general beauty standard  ahead of dressing her in her ball gown. 

In the conventions of such films,  a heroine who does not shed her ugly duckling veneer and become the graceful swan we expect to see is unthinkable. And that is what makes The Other Bennet Sister so  daring in challenging it.  

Being the odd one out

The Other Bennet Sister is Mary's story of how she comes into her own identity and happiness. Of course, growth and change is part of that story. But the usual account of a girl's metamorphosis into a beautiful woman who only gets her due after removing her glasses, doing her hair, and wearing the right clothes is replaced by the confidence that allows Mary to be herself instead of trying to impress others and win parental approval. 

In the book, Mary keeps applying herself to books largely to try to win her father's notice and affection. That is not really shown in the adaption, which highlights more of her awareness of constantly disappointing her mother because she is not pretty enough or lively enough and has the gall to wear spectacles. In her parental home, where her sisters have paired up without her and her parents either ignore or criticize her, Mary has no one to turn to.

But that all changes when the Gardiners take her in. Her aunt does everything possible to make Mary feel at home and to build up her confidence that Mrs. Bennet's constant criticisms have undermined. And we have the requisite new wardrobe for the heroine as she makes a switch from her usual drab colors, though it's all about Mary's self-esteem rather than the usual makeover.

Though she never blossoms into beauty, Mary with her glasses and unfashionable clothes manages to attract two suitor. Tom Hayward and Will Ryder enjoy her company and conversation because she is so different from other women they've encountered and says what she really thinks.   

Clothes do not make the woman, but choosing them does

Mary's new  spring green gown

Mary's new clothes are handled very differently in the book and in the adaption. The novel gave greater weight to Mary's feelings of guilt concerning Mr. Sparrow at the Assembly ball. Associating that with a becoming cream and gold gown that she had treated herself to for the occasion make her deny herself pretty dresses afterwards. Wanting to boost her nieces confidence, Mrs. Gardiner makes the argument her that she deserves to dress in smart clothes as a reflection of how she values herself and even persuades her to allow Elizabeth -- who wishes to make amends for having played a part in Mary's embarrassment when told to stop playing piano --to pay for it. 

In contrast, in the adaption, Mary has come to the Gardiners as an interim governess, and her aunt convinces her that the position includes a dress allowance. She urges Mary to choose the fabrics she wants on her own and refuses to direct her in any way. The resulting gowns are not what would have been called "smart" at the time. The spring green gown red gown is particularly unflattering. 

Yet, as she tells Miss Baxter, it makes her feel bold. That statement proves that Mrs. Gardiner achieved her aim of bolstering her niece's confidence in herself and her ability to choose for herself, regardless of how fashionable she may appear.  

Mrs. Bennet attempts to undermine that when she offers her own commentary on the red dress and forces Mary to wear Elizabeth's gown at dinner to look more attractive to Mr. Ryder. (None of this occurs in the book.) Mary wears the blue gown that her sister wore to the ball some 2-3 years and shows her discomfort by fidgeting with the neckline. 

Elizabeth selecting her gown for the ball

This dress is the one that Elizabeth selected over a yellow one in order to disassociate herself form her mother who was wearing a similar color. Mary will echo making that choice when it comes to deciding what to wear for the hike up Scafell Pike. 

Mary chooses her blue plaid gown

Narrating her actions, Mary declares, "I had made my choice!" when she selects her own blue gown -- the plaid one she has worn many times before, though she pairs it with a fuchsia spencer. She wears the same combination when she is reunited with Tom Hayward and finally gets the romantic resolution she had hoped for.

The choice she had made was not just about her clothes but about taking control of her own life. One was marrying Tom rather than much richer Ryder. The other -- an invention of the adaption -- was to put all her learning to use as a kind of tutor/governess and pursue a career even as a statement of valuing herself beyond attaining the position of wife. That is Mary declaring her own independence from conventional standards as she pursues her own form of happiness. 

Related: 

The Other Bennet Sister: Celebrating Mary Bennet
by Totally_Jane_Austen

"The Other Bennet Sister" is Closer to Jane Eyre than Jane Austen

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