The Private World of Georgette Heyer, by Jane Aiken-Hodge – A Review

From the desk of Laura A. Wallace: 

Jane Aiken Hodge’s 1984 biography of Georgette Heyer, reissued this month by Sourcebooks, was until very recently the only one available.  Published ten years after Heyer’s death, it describes her life primarily from her letters to her publisher.  An intensely private person, Heyer eschewed publicity, never giving an interview, and not keeping her papers for posterity.  Thus a biographer has relatively little material available.  Hodge interviewed Heyer’s editors, surviving family members, and a very few friends (all of whom loved or respected her), and then wove a narrative around the books themselves, using them to illustrate her life, and vice versa.

A lot of the criticism of this biography has focused on either errors Hodge made about the novels themselves, or some kind of personal disappointment the reader feels from finding Heyer “unlikeable.”  I personally find whatever errors Hodge made to be minor and forgivable, and find Heyer herself to be witty, strong-willed, and very likable.  Her personality erupts from her letters and makes me want to read more of them.  Coupled with her friends’ descriptions of her immense style and charm, they make me wish I could have known her.

Her private nature prevented her from discussing her books with her friends.  She would talk about everything else in the world with them, but when the conversation came around to her work, she would remain silent on it, leaving any discussion to her husband, or changing the subject.  It is hard to tell from this remove (of both time and culture), but it seems to me that this was, at its core, a very large dose of British reticence and self-deprecation.  The idea of self-promotion was simply repugnant to her, and since her first novel (written as a serial to amuse a sick brother when she was seventeen and published before she was twenty) had sold well, and a later novel had come out during a general strike with no publicity and yet sold 190,000 copies, she was convinced that she had no need to promote her work.   She referred requesters of interviews back to her novels.  Hodge reports that she would say:  You will find me in my work.

So this biography focuses on her work, and how it informs us about the author.  And in that regard, it is particularly interesting to writers.  There is advice to new authors (she sometimes read other people’s manuscripts for her publisher) and there is a long incubation and development and experimentation with her own style and various settings before she settled into the Regency period.  It took her twenty years, and twenty-four novels, before she did so.  For many years she wrote a historical novel and a thriller every year.  It was an intense pace.  And her meticulous research is always highlighted.

I was surprised by the size of the Sourcebooks edition, which was smaller and thinner than I had expected.  The comparative sizes of this trade-paperback-sized edition and the original hardcover edition are deceptive, however.  The new edition runs to 256 pages while the original is only 216.  The new edition has a new sentence at the end of the Acknowledgements stating that some new material has been incorporated into the text; but while I did not make a word-for-word comparison of the two editions, I did not find any additions or corrections.  The most significant difference between the editions appears to be the lack of color illustrations in the new one and the omission of as many as half of the total number of illustrations that were in the original.  The hardcover edition is one of the best illustrated books about the Regency anywhere, full of large color and black and white plates of photographs, portraits, caricatures, fashion plates, and paintings, with something on nearly every page.  Many, perhaps most, of these are missing in the new edition, and of course the smaller format and plain paper reduce the beauty, and even the utility, of many of those that remain.  It is still well-illustrated, just no longer exceptionally so.  This is the only thing that restrains what would otherwise be an enthusiastic recommendation of this book to all Heyer and Regency fans.  Even so, it is still well worth reading for anyone who enjoys Heyer or who is interested in the development of a successful author’s career.

4 out of 5 Stars


  • The Private World of Georgette Heyer, by Jane Aiken-Hodge
  • Sourcebooks (August 1, 2011)
  • Trade paperback, eBook, & audiobook (256) pages
  • ISBN: 978-1402251924
  • Genre: Literary Biography


We received a review copy of the book from the publisher in exchange for an honest review. Austenprose is an Amazon affiliate. Cover image courtesy of Sourcebooks © 2011; text Laura A. Wallace © 2011, Updated 10 March 2022.

9 thoughts on “The Private World of Georgette Heyer, by Jane Aiken-Hodge – A Review

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  1. The expectations of an extraordinary character with an adventurous, glamorous life are very often disappointed when studying/researching a writer’s biography. Just think of Jane Austen herself. One of the most popular writers nowadays, she had a really uneventful life. Maybe we should appreciate their creative talent more, instead of less.
    Thanks for posting this interesting review .
    P.S. Reading “Devil’s Cub” these days!


  2. Since my discovery of Georgette Heyer several months ago, she has rapidly ascended as nearly one of my favorite 20th century authors. I’m on # 17 of her prodigous output: Friday’s Child. I MUST read The Private World because I find her without peer in historical accuracy, character development, dialogue, plot creativity, and the colorful use of the “lingo” during that period. Bravo….


  3. Loved it. I have really gotten into Heyer’s works the past few months. I have this on my to be read book list and thanks for the heads up about the illustrations and the original.


  4. Thank you Laura for this review! I agree that the original edition has the most wonderful pictures and a shame these are not better replicated in this reprint – but as the book is hard to find in that first edition [and expensive!], it is brilliant that Sourcebooks has reprinted it again, and it is likely a nicer looking reprint than some of the others out there…

    I loved this Heyer biography and hightly recommend it – I think what put people off was to find that she really did all her writing just for the money and really looked down on her readers – but all that aside, she was an informed researcher of the Regency period and created wonderful works of pure enjoyment! I look forward to the new biography by Jennifer Kloester due in the fall which will have additional information from letters, etc. What I would most like is to see her notebooks published – what a feast of Regency trivia!


  5. I bought my paperback issue on 6 February 1986, and some of the pages are now coming out, but it will not be replaced. It has been read and re-read, and I have always been impressed by Heyer’s attention to detail and research.

    Prior to discovering Georgette Heyer, I had been reading rather silly ‘historical’ novels, but once I had read one I never looked back and have been a fan ever since!


  6. I definitely think the new edition is worth having in your personal library if you don’t have a first edition. If you already have the first edition, then I didn’t find anything in the new edition that would make it worth your while. (Except of course for the ebook edition which is available this week with all of Sourcebook’s Heyer titles for $1.99!)

    As for Heyer looking down on her readers. I don’t think she despised them all. What she disliked were (a) people who wanted her to rewrite “The Black Moth” and “These Old Shades” over and over; (b) literary reviewers and others who dismissed her work as fluff without ever reading it (I found a recent academic paper that derogatorily mentioned her and Cartland in the same sentence, as equivalents); and (c) readers who lacked any interest or recognition in the level of her research and attention to detail. Hodge mentions one reader who sent her a letter asking if she knew that Harry Smith had become the Governor General of South Africa. THAT is what she disliked, and I sure don’t blame her.


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