In the second installment of The Austen Project, bestselling Scottish crime writer Val McDermid takes a stab at a contemporary reimagining of Jane Austen’s most under-appreciated novel, Northanger Abbey. Written in the late 1790s when Austen was a fledgling writer, this Gothic parody about young heroine Catherine Morland’s first experiences in Bath society and her romance with the dishy hero Henry Tilney is one of my favorite Austen novels. Fresh and funny, the writing style is not as accomplished as her later works but no one can dismiss the quality of Austen’s witty dialogue nor her gentle joke at the melodramatic Gothic fiction so popular in her day. I was encouraged by the choice of McDermid as an author and intrigued to see how she would transport the story into the 21st century.
Our modern heroine, sixteen-year-old Cat Morland, is a vicar’s daughter living a rather disappointing life in the Piddle Valley of Dorset. Her mother and father seldom argued and never fought, and her siblings were so average she despaired of ever discovering any dark family secrets to add excitement to her life. Homeschooled, she can’t comprehend history or French or algebra, but delights in reading to fuel her vivid imagination, favoring ghost stories, zombie and vampire tales. After years of exploring the narrow confines of her home turf, she craves adventure abroad. Rich neighbors Susie and Andrew Allen come to her rescue by inviting her to travel with them and attend the Edinburgh Festival in Scotland where Cat “is in her element, seeing the potential for terror and adventure around every twist and turn of the narrow streets.”
Introduced to theater, art, and books, and thanks to fashionista Mrs. Allen, Cat soon acquires a new wardrobe and dancing lessons where she partners with a charming and witty young attorney, Henry Tilney. After researching Henry on Facebook and Google she discovers that his father is the much-decorated general who made his name in the Falkland’s war before she was born. Even more interesting to Cat’s Gothic infused imagination, he owns Northanger Abbey, a medieval Borders abbey in Scotland. Cat also meets Mrs. Allen’s long-lost school friend Martha Thorpe and her three daughters, one of which is just Cat’s age. Bella, who recognizes the Morland last name, knows Cat’s elder brother Jamie who is attending Oxford with her brother Johnny. Before long they were “gossiping about the things that entertain young women of a certain age and type,” and becoming BFF’s.
Blowhard Johnny Thorpe arrives in his racy red sports car with friend James Morland in tow. He attempts to court Cat but all she can think of is Henry and his sister Ellie. When Cat attends a céilidh, she anticipates dancing the Highland fling and hopes to encounter Henry Tilney again, who will surely save her from the unwanted attentions of crude Johnny Thorpe. As she and Bella scout the room they notice a beautiful, pale young woman dressed all in white:
“Who on earth was that?” Bella asked, “She acts like she’s in Pride and Prejudice.”
“That’s Henry Tilney’s sister Ellie.” Cat stared after the disappearing figure. There was something about Ellie, something out of time and out of style, like there would be if you were a two-hundred-year old vampire, she thought with a mixture of dread and delight.”
The story continues, mirroring the text of Northanger Abbey page for page, and scene for scene. Cat travels to Northanger Abbey as a guest of the Tilney’s and the story turns Gothic and mysterious – just as Austen had devised.
McDermid made clever, creative and sensible choices in modernizing Northanger Abbey by moving the action from England to Scotland. The Edinburgh Festival easily replaces eighteenth-century Georgian Bath allowing for a social hub similar in context: theater, shopping and country dancing. Later, we are treated to a really creepy medieval setting for a Scottish castle/Northanger Abbey. Cat is appropriately addicted to modern Gothic novels rivaling the famous Northanger Canon: Herbridean Harpies, Ghasts of Ghia and even Pride a Prejudice and Zombies! McDermid builds the vampire theme slowly, allowing Henry and Ellie to be pale in complexion, anachronistic in demeanor and just mysterious enough to trigger Cat’s imagination. Her characterizations are spot-on: Henry is droll and swoon-worthy as ever, Cat a bit air-headed and impressionable, Bella a slick piece of work, and General Tilney deceptive and tyrannical.
The plot plays out as one would expect, and if you had not read Northanger Abbey before you would not notice that the author has really created a complete translation, scene for scene, and sometimes word for word—a No Fear Shakespeare version of Northanger Abbey. While I admired McDermid’s creative choices to bring the story into the modern world (cell phones, Facebook, language and culture), I was immediately puzzled by her choice of narrative style. This novel is really a retelling instead of the reimagining that it was advertised as. The downside of a translation is in its creative limitations, resulting in McDermid’s sentences being affected and unnatural. I just wanted her to break out of the stranglehold she had placed on herself and use the plot and characterization as a springboard, and not a noose. Limiting herself in this manner may have been her way of honoring Austen, but I think she has done a great disservice to her own writing. Having not read any of her acclaimed crime novels I have no idea of her real talent. I believe that Austen herself, who honed her craft so precisely, would be baffled at one author lessening their gifts at the expense of another.
Like the reaction to Joanna Trollope’s contemporary reimaging of Sense and Sensibility published last year, whenever you fiddle with the classics there are bound to be those who are open to the concept and those completely closed off. I read this novel in anticipation of enjoying it. In hindsight, I do not think that it was written for an Austen fan familiar with the original, but for the uninitiated who may view it in a completely different light.
4 out of 5 Stars
Northanger Abbey: The Austen Project, by Val McDermid
Grove Press (2014)
Hardcover (368) pages
Cover image courtesy of Grove Press © 2014; text Laurel Ann Nattress, Austenprose.com
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