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For a novel set in England’s interior, Jane Austen’s Mansfield Park introduces a surprising number of literal islands, from Portsmouth’s Portsea to Antigua to the Isle of Wight. Mansfield Park itself functions as a metaphoric island, and Portsmouth and Antigua share a connection as two central British dockyards during a period of warfare. Using constructs proposed by Deleuze and Guatarri, this paper explores Lord Bertram's and Fanny Price's attempts to protect the Mansfield estate as an originative pre-industrial “island,” cutting off modernity’s and imperialism’s flows. This paper also examines how this attempt is undermined by the estate's literal dependence on the flow of capital from an Antigua slave plantation and the flows created by the Napoleonic wars, represented by Fanny Price’s brother William. In light of Deleuze and Guattari, Mansfield Park raises the issue of gendered responses to flow and the dangers of Deleuzian “becomings” to females in patriarchal society. I Mansfield Park, though set largely in England’s interior, abounds with islands: real islands, metaphoric islands and islands of the imagination. Literal island areas include Portsmouth, England’s only island city, located on Portsea, birthplace of the novel’s heroine, Fanny Price. Other islands are Britain itself, the Isle of Wight, and Antigua, home to a plantation all important to the Bertram finances. Imaginary or metaphoric islands include both Mansfield Park, the White attic, and the “desert” island of Maria and Mrs. Norris’s final exile. This paper will explore how these islands interconnect to reveal a clash of stasis and energy that permeates the text — and to argue that Mansfield Park offers a woman’s perspective on the value of high energy flows. In Mansfield Park, imperial islands — Antigua, Portsea’s Portsmouth, and England — connect with the pre-industrial “island” of Mansfield. The bulk of the novel concerns the volcano of change that dances and strains and boils up to a crisis beneath the surface of an ostensible story of romantic love and courtship. In this reading, the novel’s theme centers on an island’s defense: detecting, expelling and ejecting unwelcome invaders from Mansfield Park. Deleuze and Guattari’s Anti-Oedipus and A Thousand Plateaus help lay bare the underlying flows and relationships in this universe whose central character turns inward to protect herself from a deluge of potentially anarchic reterritorializations. As described by Deleuze and Guattari, reterritorialization is a process of restructuring, of creating new assemblages out of disparate parts that intersect. It is change brought about by the connection of geographies. A wasp and an orchid intersect in a specific place, and each deterritorializes, taking a bit of the other that they then reterritorialize. The wasp, write Deleuze and Guatarri, “reterritorializes the orchid by transporting its pollen.” In so doing, “the two becomings interlink” and new forms flow (Plateaus 10). Despite Sir Thomas’s — and Fanny Price’s — wish that it be otherwise, characters flow in and out of Mansfield Park, generating change, energy, deand reterritorializations. Characters enter the estate, leave and reenter, until many leave forever, too destabilizing for this metaphoric island’s desired stasis. In Mansfield Park, Henry and Mary Crawford, Maria, William and Mrs. Norris represent Deleuze and Guattari’s metaphor of a world of interconnecting rhizomes (a non-hierarchical image of plants sending out underground roots in all directions). Henry Crawford, especially, becomes the symbol of the rhizome: an “acentered, nonhierarchical, nonsignifying system ...” (Plateaus 21). He represents as well the “schizophrenic process of desire,” the attempt at “I am all that exists, all the names in history” (Anti-Oedipus 10). These high energy characters collide with the traditional “tree” of hierarchy (Plateaus 18) and rooted stability represented by Sir Thomas, Fanny, Edmund and Rushworth — who reveal the difficulties inherent in maintaining stasis in a globally interconnected world. Mansfield Park itself is a metaphoric island, marking a step back into a pre-industrial world. Outsider Mary Crawford describes it as fit “to be in any collection of engravings,” and we hear in her word “grave” a pun on both the solemn and the funereal. She describes the place as “a gentlemen’s seat” but in need of being “completely new furnished” (MP 55). The home itself is surrounded by five miles of park, that like a moat or a sea, hold modernity at bay. The “Mansfield Commons” also borders the estate. These commons underscore the pre-industrialized, rural and bucolic ethos of Mansfield: at a time when enclosing (building a fence or wall around) and privatizing what was once open land used by villagers for fodder or forage was increasing rapidly, Mansfield maintained an ancient tradition of openly available communal space. Mansfield’s pastoral (in both senses of the word — much is made of second son Edmund’s entry into the pastorate) and pre-industrial ethos collide in the novel’s action with the flows represented by London’s symbol, Mary Crawford, who can’t, for instance, understand why a horse and cart might not be available during the harvest for “hire” to transport her harp (MP 68). More significantly, Mansfield is supported in part (and a vital part, as Sir Thomas’s journey shows) by imperialism’s flows of capital from Antigua to England. In “Desert Islands,” Deleuze explores islands as representations of possibility, imagination, myth, birth and rebirth, as fertile and creative terrains of potentiality ripe for reformulation and reinvention, yet deplores that the island metaphor has become an imaginative dead-end in novels such Robinson Crusoe and Suzanne and the Pacific. In Robinson Crusoe, Deleuze finds creative failure: “The mythical recreation of the world from the desert island gives way to the reconstitution of everyday bourgeois life from a reserve of capital. Everything is taken from the ship. Nothing is invented” (“Desert Islands” 12). Likewise, Suzanne’s island is “a depository of ready made luxurious, objects. ... Suzanne has nothing to create anew” (“Desert Islands” 12). Further, as Stewart Williams writes, “the protagonists in both tales are deprived of partners in any meaningful sort of relationship, and each instead engages with ‘cadavers’ [Suzanne] or ‘a slave,’ [Robinson] respectively, in their reproduction of what Deleuze considers was becoming or had become there (there in Europe as well as the island) a familiar but banal, bourgeois political economy” (217). The island could — and perhaps should — represent the mythic recreation of paradise, but too often it does not. II Deterritorializing flows have already crept into and begun to change Mansfield’s would-be “engraved” society before the novel’s action begins, both through the Antigua plantation, and through Mrs. Norris, a figure, like the wasp lighting on the orchid, representing both the energetic accumulation of goods and the connection of places. Mrs. Norris’s energy sets the novel in motion: she suggests and energetically advocates for bringing her and Lady Bertram’s niece into the household. This niece, Fanny Price, is the daughter of a sister who made an economically improvident marriage, and has born an overflow of children. After sober discussion, Sir Thomas and Lady Bertram, who apparently would have never entertained — on their own — the idea of bringing another into their enclave, agree to take her in. Sir Thomas chiefly worries about status quo and hierarchy: he decrees that the new entry into their system not disturb the flow of an already functioning machine. In this old-fashioned, aristocratic machine, Sir Thomas is a baronet, not a peer, and yet a member of the titled and hereditary gentry, a gentry class, which as Marilyn Butler points out, had “complete legal ownership of the land” (99). He is determined his children and no one else’s will inherit the estate: His chief concern is how to properly graft Fanny onto the family tree. “There will be some difficulty ... observed Sir Thomas ... how to preserve in the minds of my daughters the consciousness of what they are, without making them think too lowly of their cousin; and how, without depressing her spirits too far, to make her remember that she is not a Miss Bertram” (MP 11-12). Wary of disruption, he openly speaks of expelling Fanny should she cause trouble. Fanny, thus, flows into Mansfield Park as the novel opens, journeying from Portsmouth. With its dockyards, Portsmouth was a center of shipbuilding, a key naval port during the wars with France that were ongoing in this period, and a bustling center of commerce. Such a hub was this crowded, overflowing island city that Fanny would later think of it as a place where “nobody sat still” (MP 407). Mansfield’s serenity and empty spaces, with rooms so big that the young Fanny can’t feel comfortable in them, provide a sharp contrast. Sir Thomas and Lady Bertram assume that the childless Mrs. and Mr. Norris will take Fanny as a companion into the parsonage, but that is not her intent: Mrs. Norris both accumulates goods (Wiltshire calls Fanny a “transported commodity” (lxxv)), and socializes the costs of her acquisitions, an expense that Sir Thomas, coming out of a patrician mindset, is willing to bear, as he does the Mansfield Commons. In raising Fanny, however, Sir Thomas and Mrs. Norris’s different ideologies lead them tacitly to collude on Fanny’s deprivations: Sir Thomas allows deprivation in an attempt to assure a proper distance between Fanny and his own, more hereditarily privileged children, and Mrs. Norris to reterritorialize her into a docile slave/worker. Fanny arrives as a ten-year-old to Mansfield with a mix of shyness, sensitivity and formerly lively spirits — we learn later that she and her brother used to dance in the streets of Portsmouth to the organ grinder. Early in her stay at Mansfiel

‘Above all, the peace and tranquility of Mansfield:’ Mansfield Park and Islands: A Deleuzean Reading