For example, I can only assume this was your reaction to the above.
I'll acknowledge from the beginning that Tennyson's Gift is hardly a classic. Heck, I didn't even know it existed until it popped up in front of me one day. Lynne Truss, of fame Eats, Shoots & Leaves, has written what can only be described as a historical farce. Set on the Isle of Wight in 1863, Tennyson has set up home in Farringford, and just down the way lives Julia Margaret Cameron, pioneering photographer, desperate to have the Great Laurete sit for her. At the same time, G.F. Watts, the painter, and his young wife, thespian Ellen Terry, come to stay with Cameron, and Charles Dodgson (known to you and I as Lewis Carroll), seeks Tennyson's blessing for a dedication at the opening of his debut childrens book. Oh, and Lorenzo Fowler, along with his beastly daughter Jessie, are bringing their world-famous phrenology show to the island, throwing up plenty of discord on the way.
I must admit, he doesn't scream "comedy", does he?
Granted, it seems a strange plot, but it's truly made by its characters. Tennyson's perfectionist persona makes for a bizarre and wonderful scene in which the choice between "peaches" and "pears" in Mariana is hotly contended, because life's hard for poets, Cameron has an astounding ability to give away wallpaper, and Dodgson's unique mind lands him in all sorts of hot water - not to mention the various unmissable allusions (and delusions) involving Alice in Wonderland.
"They're just more poetic, damnit!"
These little details all come from a great depth of research into the characters Truss uses. While it's certianly the case that they all lived on or visited the same part of the Isle in '63 (with the possible exception of the Fowlers), the plot of the book is entirely fictional. The quirks and traits of the participants, on the other hand, are not. Dodgson and Tennyson's traits are well recorded, but Truss really has gone the extra mile. Emily, Tennyson's wife, is a minor character for the majority of the book, but everything she says or does correlates to how she is historically perceived to have been. By that, I mean both Truss and I have copies of Ann Thwaite's comprehensive biography of Emily Tennyson on our shelves, but my point still stands. Moreover, what she knows is used to fantastic comic effect in the end. Emily's obsessive hiding of Alfred's reviews from his sight (she actually did this) leads to an unprecedented, yet entirely unforgettable, chapter involving apple pie. I'll say no more.
Ths bad boy'll throw a twist in yo' tale any day...
In the end, though, this is unfortunately both the book's making and breaking (not the apple pie, the depth of research). On her own website, Truss acknowledges that the book didn't sell fantastically, and even provides a reason: "you should never put the name Tennyson in the title of a book and expect it to sell". Sadly, she's right. As a literary figure, Tennyson just hasn't been cool since Modernism happened. For the past century, he's had a stale image; one of antiquity and misery (the latter of which he kind of deserves). As such, anything that deals with him, let alone quotes quite extensively from Mariana, Maud, and other well known poems (albeit humerously) simply doesn't have the audience. It's not a bad book, by any means - it pulls off the task of being both informative and funny at once quite exceptionally - but it's only ever likely to find a home in the hearts of a very special kind of bookworm: a sort that mostly got eaten up by bigger, scarier bookworms at the beginning of the 20th century.
"Our literature is tough, our lives are tougher!"

