From the desk of Stephanie Barron:
PARANOIA RUNS DEEP
From the moment I saw the title of Sue Wilkes’s latest book, Regency Spies (Pen & Sword Books, 2015), I was desperate to get my hot little hands on a copy. In a distant chapter of my life I was trained in espionage by the CIA, and I have a habit of inventing spies in my Jane Austen novels—most of them working nefariously on behalf of Bonaparte, but a few ready to die for King and Country. There’s a paucity of scholarly data on tradecraft, recruitment, and spy running during Jane Austen’s heydey, as Lauren Willig’s fictional Eloise discovers in the absorbing adventures of the Pink Carnation. A century ago, Baroness Orczy handed us the consuming history of the Scarlet Pimpernel and forever transformed our sense of the French Revolution. (Can there be any pleasure greater than tucking oneself up in bed with a soothing drink and a copy of one of these books on a stormy night?) Patrick O’Brian channeled the Secret Funds of the Admiralty’s Sir Joseph Banks into the hands of his irascible polymath Stephen Maturin, who collected intelligence wherever his voyages with Jack Aubrey took him; but O’Brian failed to detail his sources at the back of his marvelous novels.
Perhaps, like me, he had none.
So I was eager to discover what Ms. Wilkes had to share with the world.
I confess to a moment of dismay when I opened Regency Spies. As Georgette Heyer’s character Freddie Standen often observes, “I never knew a more complete take-in!” And as is so often the case with poor Freddie, the fault lay with me, not with Ms. Wilkes. I assumed that by Regency spies, she referred to dashing men in cravats and pantaloons, fencing the despicable minions of Napoleon on behalf of the Crown. In fact, Regency Spies is an impeccably researched and scholarly record of the informants recruited, generally by the British Home Office but also by local militias and constabularies, to report on the seditious conspiracies of their fellow Englishmen. Continue reading
From the desk of Tracy Hickman:
Jane Austen is a tough act to follow and that is exactly what the Austen Project asks contemporary authors to do: reimagine one of Austen’s novels in the here and now. Curtis Sittenfeld, author of four novels including Prep and American Wife, was chosen to take on Austen’s best-known work, Pride and Prejudice. While P&P-inspired books and films such as Bridget Jones’ Diary and Bride and Prejudice demonstrate that the story and its themes have broad appeal, I wondered how Sittenfeld’s Eligible would handle the main plot points in a modern setting. Many of the issues that Austen’s characters grappled with are barely recognizable if they exist at all in modern daily life.
In Eligible, the tension between the original story and Sittenfeld’s inventions kept me turning pages. Brief, episodic chapters mirror the short attention span of a digital era audience. In contemporary Cincinnati, Mr. Bennet spends as much time as possible alone at his computer, while Mrs. Bennet’s life revolves around country club gossip and planning luncheons for the Women’s League. Jane and Liz have carved out careers in Manhattan: the eldest Miss Bennet teaches yoga while her sister writes features for a magazine. They return to Cincinnati when Mr. Bennet has a heart attack. Their practical assistance and support are needed because their younger sisters, while living at home, are little help to their parents. Socially awkward Mary is pursuing her third online master’s degree while Kitty and Lydia, as crass and self-absorbed as ever, are obsessed with working out at the gym and following trendy diets. Sittenfeld’s group portrait of the Bennet clan was one of my favorite parts of Eligible. It’s easy to picture Jane Austen smiling at this: Continue reading
From the desk of Kimberly Denny-Ryder:
When I was first asked to review Then Comes Winter edited by Christina Boyd, I felt that the fact that it was a short story compilation was perfect. In the midst of holiday planning, gift buying, and cookie baking, I had less than my normal appointed time for reading. So, having the ability to read these shorter, Austen-inspired stories let me fit them right in with my schedule and enjoy them that much more. Couple that with the fact that I now had a bunch of new authors to check out, and I was certainly excited to get started. Even more exciting, however, is the fact that my fellow Austenprose contributor Christina Boyd is the editor!
As I did with my last compilation review, Sun-kissed, I’m posting the Goodreads summary below as there are multiple stories and I cannot summarize them all here.
If you long for a toasty snuggle on a cold winter’s night, this compilation of original short stories inspired by the magic of the holiday season-and more than a nod to Jane Austen-is fancied as a sublime wintertime treat. On the heels of the summer anthology, Sun-kissed: Effusions of Summer, and in concert with some of Meryton Press’s most popular authors, this romantic anthology introduces several promising writers. With a robust mix of contemporary and Regency musings, Then Comes Winter rekindles passionate fires with equal wonder, wit, and admiration. Stories by: Lory Lilian, Linda Gonschior, Suzan Lauder, Beau North & Brooke West, Sophia Rose, Natalie Richards, Anngela Schroeder, Melanie Stanford, Denise Stout, Erin Lopez, and Maureen Lee.
From the desk of Katie Patchell:
Digital Cameras. Laptops. Word documents and Note Apps. In 2015, these and countless other electronic items are used to quickly capture memories and jot down thoughts. But in 1815, the primary means of recording moments and ideas was through paper, pen, and paintbrush. Novels, journals, and artwork show moderns what life was like in the early 1800s, bringing readers and viewers into the thoughts and events of two centuries ago. In The Painter’s Daughter, Julie Klassen’s latest Regency romance set against the backdrop of Devon’s towering cliffs, readers discover a story of secrets and danger, prophecies and hope. But unlike the portraits from the Regency period, “viewers” are not given a glimpse of 1815 through the paint on a canvas, but rather through the story of the painter herself.
March 1815: Captain Stephen Marshall Overtree has only a few short weeks left of shore leave before he returns to the Navy, and he has one last family duty to perform: Locating his wayward brother, Wesley. Stephen digs up his brother’s last address at a painter’s cottage and rides to the small seaside town, Lynmouth. His plan is simple—find Wesley, and return to his blissfully regimented life in the Navy. But his retrieval plan is ruined when on his arrival at the Devon seaside, all he finds is a locked cottage, crates of paintings, and a beautiful woman standing perilously close to a cliff’s edge. Continue reading
From the desk of Tracy Hickman:
Jane Austen fans cannot be filed neatly into a single category any more than Austen’s works can be limited to one literary genre. How might an editor attempt to do justice to the multiplicity of Janeite fandom in a slim volume of essays and interviews? This question was uppermost in my mind as I began reading Fan Phenomena: Jane Austen. The Fan Phenomena series website explains that the goal of the series is to “look at particular examples of ‘fan culture’ and approach the subject in an accessible manner aimed at both fans and those interested in the cultural and social aspects of these fascinating–and often unusual–‘universes’.”
What is the joy of Jane? What is it about her work that keeps readers, and viewers, coming back for more? Is it the Darcy effect? Is it the irony, the wit, the romance? Or is it a combination of all these factors? Many critics and authors have compiled works to analyse this vast and still growing phenomenon of fandom…This collection offers material about the fans, for the fans, by the fans, and offers a combination of the popular and the academic. (5)
Editor Gabrielle Malcom’s introduction provides a clear description of the purpose and scope of the collection. She acknowledges the differences between mainstream fan culture and the academic treatment of Austen. After setting Austen’s work in its historical context with a few concise and insightful paragraphs, she provides brief descriptions of the essays and interviews that follow. While Fan Phenomena: Jane Austen has the look of an academic journal, its design and use of color photographs creates a visually appealing experience for the reader, with the exception of the excessively small font size used for the text of the essays. Although I suspect that the text format is dictated by the Fan Phenomena series as a whole and not unique to this volume, the cramped appearance distracted me from the content at times. I found the format used in the Fan Appreciation interviews to be much more appropriate and reader-friendly. Continue reading
From the desk of Monica Perry:
Readers of Pride and Prejudice retellings know that sometimes it’s a great thing when Mr. Darcy’s proposal to Elizabeth Bennet gets interrupted. It isn’t his best moment and perhaps if it’s averted, the universe will realign in his favor, giving him time to learn of her disdain for him and correct his behavior before she hands him his heart on a stick. In Victoria Kincaid’s Pride and Proposals, Darcy doesn’t get the chance to propose, yet he still has his heart broken, as he arrives at the parsonage just in time to learn his lady love just got engaged to his best friend and cousin, Colonel Richard Fitzwilliam. What can he do? Richard is kind and honorable, and they seem to be very happy. If Darcy can’t have her, she could do far worse in a spouse. Can he risk embarrassing himself and harming his relationship with Richard by admitting his feelings? Does she truly love Richard or is she marrying for convenience? Colonel Fitzwilliam is such a beloved personage in Pride and Prejudice stories; in a world without Mr. Darcy, he and Elizabeth could be quite well- suited for each other. I wanted to know if Ms. Kincaid could possibly get Darcy and Elizabeth to a happy ending without breaking Richard’s heart in the process. Continue reading
From the desk of Christina Boyd:
Seemingly moments after reading the end of award winning author’s Carrie Bebris, The Deception at Lyme (Or, The Peril of Persuasion) in 2011, the sixth novel in her Mr. and Mrs. Darcy Mystery series, I, along with other fans wondered what Bebris might write next. Much speculation surfaced whether she would attempt a mystery with Austen’s lesser known works: Sanditon, The Watsons, and Lady Susan or abandon the scheme altogether! Not four years later, and all anticipation, I had my hands on an advanced copy of Bebris’s seventh in the Mr. and Mrs. Darcy Mystery series, Suspicion at Sanditon (Or, the Disappearance of Lady Denham).
Only the most astute Austen fans will know Sanditon is the unfinished novel that Jane Austen began writing in January 1817 and forsook after the first eleven chapters on March 18—dying 4 months later on July 18, 1817. Others might be interested to understand this first draft centers on a Miss Charlotte Heywood, the daughter of a country gentleman, who travels to a developing seaside resort, Sanditon, and encounters a ridiculous baronet Sir Edward Denham, the Parker family who were always imagining themselves unwell, and the twice-widowed dowager Lady Denham with no heir apparent. “In those few chapters she sets her stage, populates it with memorable characters, and infuses the whole with humor reminiscent of her earlier writings.” (332) Author’s Note. Continue reading