MY JANE AUSTEN BOOK CLUB

NEW RELEASE! THE SISTERS HOLIDAY BY JAYNE BAMBER

2026-01-06T09:00:00.001+01:00

Hello, readers! It’s such a treat to be back at My Jane Austen Book Club to share my upcoming release, The Sisters’ Holiday, which is coming to Kindle next month!

Inspired by the film “The Holiday” this Jane Austen retelling sees the two eldest Bennet Sisters switch places with their cousins, Elinor and Marianne Dashwood after Christmas together at Longbourn.

But before Mrs. Jennings whisks Jane and Lizzy off to London while Elinor and Marianne stay in Meryton, the whole Bennet family gets some shocking news: Mr. Collins is dead! Just days before her wedding, Charlotte Lucas is devasted, and quickly embittered by the lost opportunity, while the news leads to a sensational revelation for Jane and Elizabeth at Longbourn….

Excerpt from The Sisters’ Holiday…

Elizabeth passed an agonizing night at Lucas Lodge. She sat with Charlotte, occasionally joined by Lady Lucas and Maria, all afternoon and all evening. Sir William did his part to ease Charlotte’s dismay by removing the younger children from the house, taking them into the village to purchase a few extra Christmas gifts for his bereaved daughter.

Charlotte took a tray in her room, and Elizabeth dined with her. Darkness had encroached at an early hour, and Charlotte stared out into it as she sat by the window, the untouched tray of food in her lap. “You must marry rich, Lizzy, and take me as your paid companion before I become a burden to my family.”

Elizabeth gave a snort of bitter laughter as she looked at her friend. “Oh. You are serious.”

“I am doomed to always be serious, Lizzy. I fear this was my one and only chance to marry and have a home of my own, and it has been snatched away at the very last moment.”

“I cannot believe that,” Elizabeth assured her. “You have not moved enough in the world; anyone who is fortunate enough to meet you can see your worth. Alas, not enough eligible young men have had that pleasure.”

Charlotte shook her head. “My father has taken me to London every spring….”

“If you would only learn to get on with your brother’s wife, she might be of more assistance. She is wealthy and well connected - and I shall tell you candidly that if your ill-featured brother can land such a catch, there is hope for all of us who have only our charms to recommend us.”

Charlotte shook her head, determined to be dejected. “Some of us have little in the way of charms. Where Mr. Collins was concerned, my greatest allure was desperation.”

There was little Elizabeth could do to dissuade her friend from the cynical turn of her grief. Though Charlotte wept for the rest of the night, she said little else, and Elizabeth could only hope that her silent companionship gave her friend some succor.

Elizabeth stayed the night, and the two friends shared a bed; they snuggled together, murmuring their affection for one another and assurances of friendship and fortitude. But the next morning, Charlotte was cold to Elizabeth.

She was already dressed when Elizabeth awoke, and she sat on a chair by the window, staring numbly at a breakfast tray. She wore a drab grey gown ten years out of fashion, and her hair was pulled back in a severe knot. Her cheeks were sallow and her eyes puffy, and her gaze was unfocused as she tipped her face up toward Elizabeth. “Jane will get Longbourn, I suppose.”

Elizabeth sank down onto the arm of Charlotte’s chair, drawing her shawl tight around the night rail her friend had lent her. “What?”

“I heard my parents speaking about it this morning. When Papa was in the village yesterday, he saw Mr. Phillips, heard him gossiping about it with Mr. Goulding - he had been summoned to Longbourn to discuss the entail. Mr. Bennet certainly did not tarry.”

Elizabeth drew in a sharp breath. “Perhaps there is some other distant cousin - of course my father would wish to know.”

Charlotte’s expression and her voice were utterly devoid of feeling. “Of course it will be Jane, beautiful Jane. She will get Longbourn, and be paraded around London.”

“Charlotte,” Elizabeth gasped. She had never known Charlotte to be mean spirited, and even now she could not excuse it. “I am sorry we shall keep our home, when you wished to be mistress of it someday.”

Elizabeth moved away to retrieve her gown, and changed into it behind a screen. When she had dressed herself, she folded the night rail and laid in on Charlotte’s bed. “Generally when one condoles with somebody bereaved, they speak of the merits of the deceased. You may not expect me to have much to say in praise of Mr. Collins, but I had expected it of you.”

Charlotte stared at her blankly. “Perhaps you are right, but I can find only rage. Go home, Elizabeth. I will not disappoint you with my ill humor.”

Elizabeth went home with a twisting in her gut over how she had left things with her grieving, angry friend. To her chagrin, there was a celebratory air at Longbourn. Mrs. Bennet’s voice could be heard as soon as Elizabeth entered the house, crowing over Jane’s presumed good fortune.

At the end of the corridor, the door to her father’s study opened; Mr. Bennet and Mr. Phillips stepped out of the room, and Mrs. Bennet came running. “Well, dear Brother! Do tell us there is good news!”

Mr. Bennet glanced over at Elizabeth, and beckoned her to join them. “Come, ladies, let us all go and sit in the parlor.”

Elizabeth did as she was bid. Jane was sitting with their aunt and cousin Julia, while Lydia and Kitty worked on some very ugly bonnets at a table in the corner, and Mary attacked her instrument.

“Girls, go into the village for a little while,” Mr. Bennet said, offering them each a sixpence.

Mrs. Gardiner went into the music room and laid a hand on Mary’s shoulder. “Could you work with Julia for a little while?” Mary agreed, making room for her cousin to sit beside her on the piano stool. Mrs. Gardiner shut the door behind them, and resumed her seat between Jane and Elizabeth. She took them each by the hand as she waited for Lydia and Kitty to clear out.

When the two younger girls were giggling their way out of the house, Mr. Bennet surveyed his wife and more sensible relations. They all waited for him to speak. “Mr. Phillips has brought over some documents regarding the entail.”

Despite Charlotte’s vitriolic misery, Elizabeth felt a pang of pity for her friend. “So soon?”

“Had we discovered there was some further distant relation set to inherit, it would have been best to know at once,” Mr. Bennet said evenly.

“But you did not uncover any male heirs,” Mrs. Gardiner prompted him.

“No, we did not,” Mr. Phillips said.

At the same moment, Mr. Bennet held up a hand. “This is not to leave this room.” He looked at his wife, who had already begun to sputter with avaricious glee. “I will not have every soldier in the regiment knocking down our door to woo Jane.”

“Oh, Jane!” Mrs. Bennet sprang from her chair and squared her favorite daughter’s face in her hands. “Oh, my dear girl! I knew how it would be! You shall have this house! Thank the Lord, we are saved!”

When her mother released her, Jane turned toward Elizabeth with a look of astonishment. “Can it really be possible?”

“Most certainly,” Mr. Phillips said with a proud smile. “If there are no other heirs male, and there are not, the eldest daughter may inherit.”

“Well, Jane, what do you say to that?” Mr. Bennet grinned at his daughter.

“I am so sorry for Charlotte - and poor Mr. Collins!” Jane wrung her hands. “I suppose I must learn to manage the estate.”

“No, my dear, you must find a suitable husband! I daresay that Mr. Bingley must feel terribly foolish for giving you up, when he learns of this,” Mrs. Bennet said smugly.

“Surely you would not wish him, or any man, to woo Jane because of this,” Mrs. Gardiner said. “Not any more than you would wish….” She broke off.

Jane looked nervously at their aunt. “What is it?”

Mrs. Gardiner looked at Mr. Bennet. “They do not know, do they? Tom, you ought to have told them.”

“I knew that Bingley fellow was a coxcomb,” Mr. Bennet said with a dismissive wave of his hand. He fixed a stern look on his wife. “Madam, if I hear anything we discuss repeated by somebody outside of this room, I will cut off your allowance until Easter, is that understood?”

Mrs. Bennet was on the edge of her seat, already on the scent of some great secret. She hurriedly nodded her agreement and waved her handkerchief as she urged him to go on.

Elizabeth latched onto her aunt’s hand, bracing herself for what was to follow. She tore her eyes from Jane, sharing her sister’s overwhelmed trepidation, and she stared expectantly at her father.

But it was Mrs. Gardiner who spoke. “The scarlet fever claimed James and Joan first, and then my poor little Jasper. Edward was so ill for so long before he succumbed. He changed his will, leaving the bulk of his fortune to Julia and I, and the business to my nephew, Mr. Franklin. He also set aside a small sum to be added to the money that was put aside for you girls by your grandfather.”

Mrs. Bennet sat up straighter. “What money? Mr. Bennet, you never told me there was any money from my father, besides my five thousand pounds. What is this about?”

Mr. Bennet rubbed at his temples and sighed. “I never much cared for your father, Fanny, though he has done more for our girls than I was ever able to. When Mary was born, you had already lost two boys, and we had only the three girls. He attempted to advise me against trying for any further children, though we… love one another too much.”

Elizabeth and Jane exchanged a look of mortification before turning their attention back to their father, who gave them a guilty smile.

“Your grandfather set aside funds for each of you, and for Mary - five thousand apiece. There was a fourth account established with five thousand pounds for you, my dear wife, and any additional children. He also funded the purchase of a parcel of land that added eight hundred pounds of revenue to Longbourn every year, with the stipulation that from my profits, fifty pounds be added to each of my three daughters’ portions each year, and the other six hundred and fifty to the funds set aside for my wife and other children. After twenty years of interest….”

Mrs. Bennet clapped her hands. “It must be a mighty fortune!”

Elizabeth attempted the math in her head, but she could hardly guess what this meant. Mrs. Gardiner cleared her throat. “With only one surviving child and a well-connected wife, my late husband generously added to those funds. Jane, Elizabeth, and Mary each have twenty thousand in the four percents, and the sum to be shared by Fanny and the younger girls is the same. There are stipulations, of course….”

“My girls have proper dowries!” Mrs. Bennet squealed and flapped her hands about. “But what about Kitty and Lydia - are they to share? Why do they not have twenty thousand apiece?”

“The idea was that that funds would remain in the four percents for several more years, until they are wed,” Mr. Phillips said. “Then, the sum shall be greater.”

Mrs. Bennet ignored him and continued to accost her husband. “And why did you never tell Jane? Mr. Bingley would not have gone away! And perhaps even that pompous Mr. Darcy might have fancied one of the girls! And Lizzy, your Mr. Wickham would not have chased after that insipid little Miss King - but he is to return, I hear! It is a fine thing you did not accept Mr. Collins, I daresay, for then you must go into mourning!”

Jane stood up and rested a hand on her mother’s arm. “Mamma, think of what you are saying. You would not wish Mr. Bingley or any other man to want me only for my fortune, surely. Nor for Lizzy to be pursued for anything other than true love.”

“And why should I not? You might have been married already, Jane! But your wicked father wished to keep it all a secret, some horrid lark of his, and now you are practically a spinster with your fortune and inheritance! Oh, but you must go to London! That is how we will find you a grand match. Madeline, can you not take the girls back to London with you? We will find matches for all of them!”

“You will do no such thing,” Mr. Bennet groaned. “Fanny, is it not enough that you and our girls will not be in the hedgerows?”

Mrs. Bennet looked at them all as if everybody but herself had run mad. “They might have had husbands!”

Elizabeth shared a look of mortification with Jane. She hardly knew what to think of the news of their fortune, but she certainly had very decided opinions about using her new wealth to catch a man. “Mamma, I have no wish to make myself bait for a fortune hunter.”

“Nor I,” Jane shyly agreed.

“And I am afraid a visit to London is quite impossible at present,” Mrs. Gardiner said apologetically. “I am hoping to sell the house on Gracechurch Street in the new year. There are too many painful memories, and Julia’s health is not what it once was. We wish for country air, or perhaps a cottage by the seaside.”

Mrs. Bennet hurled herself backward in her chair and cried out for her smelling salts. “You are all most perversely determined to deny me any satisfaction in this happy news! Well, if you will not hear me out, I shall go and share the good news at Purvis Lodge.”

Despite his threats, Mr. Bennet could not deter his wife from her mission, and perhaps he took pity on his daughters, who wished their mother anywhere else as they pondered his revelation.

When Mrs. Bennet had gone, Mr. Bennet and Mr. Phillips retreated to the study for more brandy. Left with their aunt, Jane and Elizabeth stared at one another in amazement.

“I wonder if it would have made a difference with Mr. Bingley,” Jane said in a choked voice. She gave a little sob, and then fled the room.

***

Stay tuned, dear readers – I will be sharing more excerpts, and each stop on my blog tours brings a chance to win a free copy of this Austen mash-up!

JAYNE BAMBER

WHAT JANEITES WILL BE WATCHING IN 2026: UPCOMING AUSTEN ADAPTATIONS

2025-12-30T17:51:00.003+01:00

Promotional picture for The Other Bennet Sister (2026)

As the final pages of 2025 turn, it feels only fitting to look ahead. After a year filled with Jane Austen’s 250th birthday celebrations — from exhibitions and new scholarship to reprints and rereads — one might assume the Austen moment would gently fade. Happily, the opposite is true. The coming year promises not a quiet coda, but a full Regency encore.

2026 is shaping up to be an extraordinary year for Austen lovers, with a wave of ambitious screen adaptations that span faithful retellings, bold reimaginings, and thoughtful expansions of her world. Whether your heart belongs to Hertfordshire, Devonshire, or Bath, there is much to anticipate.

Here is your definitive guide to the Jane Austen–inspired adaptations we’ll be watching (and debating!) in 2026.

1. Sense and Sensibility — A Return to the Big Screen

Release Dates: September 11, 2026 (US) / September 25, 2026 (UK)

More than thirty years after Ang Lee and Emma Thompson’s beloved adaptation, the Dashwood sisters are returning to cinemas courtesy of Focus Features.

The Cast: Daisy Edgar-Jones (Normal People) steps into the role of the composed and principled Elinor, opposite Esmé Creed-Miles as the passionately romantic Marianne. George MacKay will portray Edward Ferrars, while Frank Dillane takes on the dangerously charming John Willoughby. Adding to the appeal, Caitríona Balfe is set to play Mrs. Dashwood.

Why We’re Excited

Directed by Georgia Oakley (Blue Jean), this adaptation promises a sensitive yet contemporary lens on Austen’s exploration of emotional restraint, social expectation, and female resilience. With this cast and creative team, expectations are understandably high.

2. Pride and Prejudice — The Netflix Limited Series

Expected: Mid-to-late 2026

Netflix enters Austen territory with a multi-part Pride and Prejudice series written by Dolly Alderton (Everything I Know About Love). Any new adaptation must contend with two near-canonical screen versions, but this one is clearly aiming for depth rather than novelty alone.

The Cast:

Emma Corrin (The Crown) will lead as Elizabeth Bennet, with Jack Lowden (Slow Horses) as Mr. Darcy. The Bennet parents are played by Olivia Colman and Rufus Sewell — a pairing that alone has fans buzzing. Daryl McCormack is confirmed as a charming Mr. Bingley.

The Vibe:

Alderton has spoken about leaning into Austen’s observational wit and moral intelligence, with particular attention to the Bennet sisters’ inner lives. Expect rich character work, social nuance, and plenty for book clubs to unpack.

3. The Other Bennet Sister — BBC Series

Expected: Early 2026

Based on Janice Hadlow’s acclaimed 2020 novel, this ten-part BBC adaptation shifts the spotlight to Mary Bennet — long dismissed as the dullest sister, yet perhaps the most overlooked.

The Story:

This series traces Mary’s journey from the margins of Longbourn to a life shaped by self-knowledge, intellectual curiosity, and unexpected romance. It’s a thoughtful expansion of Austen’s world rather than a retelling.

The Cast:

Ella Bruccoleri (Bridgerton) stars as Mary, joined by Richard E. Grant and Ruth Jones as Mr. and Mrs. Bennet.

My Jane Austen Book Club Take

With the momentum of the 250th anniversary still carrying us forward, it’s clear that Austen’s work continues to invite reinterpretation. While some may question whether we need yet another Pride and Prejudice, I firmly believe that each generation deserves its own Elizabeth and Darcy — provided the adaptation approaches the material with intelligence, care, and respect.

Here’s hoping 2026 gives us not just more Austen, but good Austen.

Which adaptation are you most excited — or most nervous — about? Let’s talk in the comments.

OUT TODAY! TO MARK THE OCCASION: BIRTHDAY TALES FOR JANE AUSTEN'S 250TH

2025-12-15T09:00:00.001+01:00

Celebrate Jane Austen’s 250th with “To Mark the Occasion: Birthday Tales for Jane Austen’s 250th”

This December, literature lovers and Jane Austen fans have a very special reason to celebrate. In honor of Jane Austen’s 250th birthday, a new anthology, To Mark the Occasion: Birthday Tales for Jane Austen’s 250th, brings together ten talented Austenesque authors who reimagine the lives, loves, and festivities of some of Austen’s most beloved characters.

Each story sparkles with wit, warmth, and a touch of surprise, capturing the essence of Austen’s enduring genius. From Mr. Darcy to Elizabeth Bennet, from Mary Crawford to Kitty Bennet, readers will step back into the Regency world with fresh perspectives and delightful twists.

Among the anthology’s highlights:

“Seven and Twenty” by P.O. Dixon: Charlotte Lucas reflects on her life and discovers that even the most ordinary existence can hold extraordinary moments.
“A Momentous Birthday” by Cathleen Earle: Fitzwilliam Darcy faces a life-or-death situation on his birthday, forcing him to confront his deepest feelings.
“Mary Crawford’s Debut” by Christina Boyd: Experience Mary Crawford’s first London season, where hope, vulnerability, and charisma collide in her journey toward the woman we know from Mansfield Park.
“Dancing and Devotion” by Bethany R. Tolson: Georgiana Darcy’s court presentation reveals joy, family love, and the surprises of a birthday forgotten—until it isn’t.
“Return to Northanger Abbey” by Denise Stout: Eleanor Tilney’s birthday and Christmas pass without her late mother’s treasured parure—until hope and miracles intervene.

The anthology also features heartfelt stories about Captain Wentworth, Elizabeth Bennet, young Georgiana Darcy, Jane and Charles Bingley, and Kitty Bennet, each exploring love, growth, and the joys and trials of birthday celebrations in Regency England.

What makes this collection even more meaningful is its cause. All proceeds from To Mark the Occasion go to the Jane Austen Literacy Foundation, supporting literacy and education programs worldwide. And with a foreword by Caroline Jane Knight, the anthology is a true tribute to Austen’s legacy.

Whether you’re revisiting favorite characters or discovering them anew, this anthology offers the perfect combination of humor, romance, and timeless insight into the human heart. As Jane Austen herself might say, “Every year—and every story—is worth celebrating.”

Preorder your copy today and join the festivities on the eve of Austen’s 250th birthday: Amazon link.

COURTING DISASTER BY DR ZOE MCGEE — WHEN COURTSHIP MEETS CONSENT

2025-11-02T14:49:00.000+01:00

Every once in a while, a book comes along that makes you look at familiar novels with completely new eyes. Courting Disaster by Dr. Zoë McGee is one of those rare reads.

At first glance, it’s easy to think that conversations about consent and gender power dynamics belong to our modern world—but as McGee reveals, women writers have been exploring these issues for centuries. From Jane Austen and Frances Burney to their now-forgotten contemporaries, McGee traces how the early novel became a space where women could question, resist, and reimagine the rules of society.

Blending literary analysis with a storyteller’s charm, Courting Disaster uncovers how these authors used their fiction to challenge ideas about marriage, desire, and female agency—long before hashtags or social movements existed. The result is part history, part feminist manifesto, and entirely engaging.

What I loved most is how McGee manages to connect Austen’s delicate irony with the urgent issues we’re still discussing today. She reminds us that beneath the polite dances and witty dialogue, there was always a deeper conversation happening about autonomy and consent. And she does so with warmth, humor, and an infectious passion for her subject.

Courting Disaster invites us to see Austen and her peers not just as chroniclers of romance, but as quiet revolutionaries—women who understood that every novel about marriage is also, in its own way, a novel about power.

Publishing 4 November 2025 with Manchester University Press, this book is a must-read for anyone who loves Austen, feminist history or simply wants to understand how much the past still shapes our present.

Have you ever noticed how Austen’s stories hint at the boundaries of consent and social expectation? I’d love to hear your thoughts in the comments below!

check the book on Amazon

GUEST AUTHOR JULIA WINTER – A DELETED SCENE FROM A VERY FINE PLACE, A NEW PRIDE AND PREJUDICE VARIATION

2025-10-23T09:00:00.001+02:00

Today I’m delighted to welcome back Julia Winter to My Jane Austen Book Club! Julia’s new Pride and Prejudice variation, A Very Fine Place, was published on 17 October 2025 by Glass Hat Press. It’s her third variation, rich with atmosphere, family intrigue, and—of course—the promise of love.

Set partly in 1811 Calcutta and later at Pemberley, Julia’s story brings us a Darcy who must navigate inheritance, resentment, and danger in his own home—while finding unexpected understanding with Elizabeth Bennet.

ABOUT THE BOOK

“Once may be chance. Twice may be ill luck. But thrice? Thrice, lad, is malice.”
1811. Calcutta. Fitzwilliam Darcy of His Majesty’s War and Colonial Office is stewing in the humid heat, when word comes that his father is dead. He must return to England immediately to take up his inheritance.
Pemberley.
The great house in Derbyshire that has never been his home. Instead, it’s home to the stepmother and half-siblings, Hugh and Georgiana, whom he barely knows.
Pemberley is his now, but an atmosphere of resentment and anger threads through every room. He isn’t welcome. His stepmother is cool towards him, Hugh hates ‘the usurper’… and when a series of incidents threaten Darcy’s life, the only people he can trust are John Reid, his right-hand man throughout his career; Charles Bingley, his aide in India; George Wickham, his cousin and Pemberley’s steward; and Elizabeth Bennet, his stepmother’s penniless niece.

Who is trying to kill him? Will the visit of the Bingley family frighten off the enemy, or just provide more opportunities to get rid of the new master of Pemberley? Most of all, can Darcy and Elizabeth come to an understanding that will, finally, make Pemberley feel like home?

You can find A Very Fine Place on

📖 Goodreads

🛒 Books2Read | Amazon.co.uk

Amazon.com

DELETED SCENE

It’s a sad truth that not everything makes it into the final version. Sometimes a poor author has to be ruthless in cutting out scenes that, while they were fun to write, don’t advance the plot or show the characters’ development. That is the case with almost three chapters’ worth of a fleeting visit to Pemberley from Lady Catherine de Bourgh and her daughter Anne. Lady Catherine is pure delight to write, but in this case, her visit did not take the overall plot forward by so much as an inch, and with great sadness, I decided that, much as we all love her, she had to be cut this time.

This little scene is set just after her arrival.

“Fitzwilliam, introduce me to this young person, if you please.”

“Of course. I am honoured to present Miss Elizabeth Bennet to you, Lady Catherine. She is Mrs Darcy’s niece and right hand here at Pemberley. Miss Bennet, this is my mother’s younger sister, Lady Catherine de Bourgh. With her is her daughter, my cousin Miss Anne de Bourgh and… forgive me. I do not know the other lady.”

“Oh, that is just Mrs Jenkinson, Anne’s companion.” The hard stare now raked over Elizabeth as she made her curtsey and murmured her delight at making the acquaintance.

It was as well that Elizabeth was not expecting the civility of any recognition other than a sniff and a regal nod. She certainly would not have received any.

Aunt Darcy moved to take command of her own drawing room. “Please be seated, Lady Catherine. Refreshments have been ordered.”

She glided to the sofa placed opposite that occupied by Miss de Bourgh, beckoning to Elizabeth to join her. Lady Catherine glanced about her, and took one of the large chairs set at a right-angle to the sofas. Mr Darcy took the other.

“I hope you had a pleasant journey here,” Aunt Darcy continued, with great civility.

Another sniff. Lady Catherine had an aristocratic nose, it seemed. “An unnecessary one, if Fitzwilliam had come to Rosings, as he should.”

“Come to Rosings?” Mr Darcy repeated, his tone rather blank.

“You have been on English soil for more than three months complete. Of course we expected to receive you at Rosings. Anne, in particular, eagerly anticipated your visit. Did you not, Anne?”

Good heavens. Mamma herself could not have been more unsubtle. Elizabeth glanced at Miss de Bourgh, to see how the young lady displayed her eagerness, but her pale face was downcast. Whether because of weariness, or because of the mortification she herself would feel in like circumstances, Elizabeth could not tell.

Mr Darcy must have inherited that icy stare from his mother’s family. “Lady Catherine, you will understand, I hope, that there was a pressing need for me to return to Pemberley and take up my responsibilities here. Not only have I an estate to learn to manage, but I have been apart from my family for some years. I was not only naturally eager to see them following our shared loss, but my duty lies here.”

“Family?” Lady Catherine turned to trade hard-eyed stares with her nephew.

“As well as Mrs Darcy, I have a brother and sister here. I am my sister’s guardian. What else are they, but my family?”

Reynolds and two of the maids appeared just then with trays bearing coffee and hot water, small cakes, and fruits from the hothouse. In the ensuing busyness of unlocking the tea caddy and preparing teas and coffees to everyone’s liking, Elizabeth let the conversation rage about her for several minutes, with Lady Catherine expressing astonishment at Mr Darcy’s liberality in espousing the notion that “the children of a second wife of your father’s amount to true family” while Mr Darcy told his aunt in decided tones that they were very close family indeed and he had a considerable interest in, and responsibility for, promoting their happiness and welfare.

If only Hugh had been there to hear it.

When she was at leisure to pour her own tea and resume her seat, the company had moved on from any discussion of what constituted a family, perhaps because Mr Darcy had made it quite clear he did not appreciated the incivility of the conversation. Lady Catherine’s mouth had thinned down to such a severe, disapproving line, it was a wonder she was able to part her lips enough to allow her tea entrance. Aunt Darcy was rigid with offence despite the expression of determined serenity on her face, her back so straight it put rulers to shame. Mr Darcy, rather red across the cheekbones, sipped at his coffee as though it, rather than his aunt, had offended him. Mrs Jenkinson seemed, wisely, to be no more conscious of proceedings than if she had been an item of the furniture, her gaze fixed on the ceiling, while Miss De Bourgh had somehow shrivelled in upon herself even further, as though she needed something more reviving than strong black tea. Elizabeth would welcome more herself.

“I am to suppose, Lady Catherine, that we have the pleasure of your company for a little time?” Mr Darcy put the offending coffee can down onto a nearby table.

“I did not travel here purely to drink a dish of tea with you, nephew.” Lady Catherine glanced at Aunt Darcy. “I always have the Rose suite while I am here. Anne and Mrs Jenkinson should be placed nearby, as close together as possible as Mrs Jenkinson attends Anne night and day.”

“The Rose suite?” Elizabeth turned to her aunt for guidance.

Lady Catherine frowned. “My usual rooms. In the family wing, of course.”

Aunt Darcy’s mouth twitched. It may have been from satisfaction. “I regret that we no longer have a Rose suite, Lady Catherine.”

“How is that possible? How? Who sanctioned such a thing? My sister named and decorated those rooms in honour of my estate in Kent. In honour of me! They were always mine!”

“I apologise, Lady Catherine, but in the quarter of a century during which I have been mistress here, several rooms have been redecorated. I cannot be absolutely certain, after all this time, which room that was. Since our family here is now rather larger than it used to be, following Fitzwilliam’s return and with my two nieces living here at present, the family rooms are mostly all in use. Perhaps, Elizabeth, the blue guest suite for Miss de Bourgh and Mrs Jenkinson, and the yellow for Lady Catherine? They are close together, at the other end of the hall to the Bingley party.”

Ladies did not splutter in company, but that hard stare had returned. “You have guests? In a house still, I see, only just emerged from mourning? Most singular.”

Elizabeth hid a smile at the irony of Lady Catherine’s own behaviour.

“My mother-in-law generously agreed to host some friends of mine who are travelling north from Town to visit their family in Yorkshire. Her kindness in opening up the house despite her own feelings and sensibilities, is much appreciated.” Mr Darcy smiled at Aunt Darcy. “Our planned entertainments are muted, of course, but we are attending a concert and assembly in Buxton in a few days. You are very welcome to join us.”

“An assembly? A public assembly? Just after mourning?”

“It is a very superior sort of assembly, Lady Catherine, I assure you. We may have the great good fortune to meet the Countess of Derby, not to mention the Duke himself.” Elizabeth replaced her cup on the tray. “If you will excuse me, I will go and ensure your rooms are made ready for you.” She rose and dropped a curtsey. “Lady Catherine. Miss de Bourgh. Mrs Jenkinson.”

Aunt Darcy rose as well. “And I will leave you to your reunion. I am aware it is some years since last you all met, and you must have much to discuss that is not the concern of other family. However, I will reiterate that you are welcome to Pemberley, Lady Catherine. I hope we can make your stay a pleasant one.”

They left the room together, Elizabeth closing the door on a “Well! Who is that pert little chit?” and hoping she would not disgrace Pemberley by laughing aloud.

ABOUT THE AUTHOR

Once a communications specialist working with several UK government departments, Julia Winter now writes full time from her home in the Nottinghamshire countryside, where she lives with her husband and Mavis, a small dog with a very big bark.

📧 Email| 🌐 Website | 🩵 Bluesky | 📘 Facebook

MURDER, MISCHIEF AND MR. DARCY: JAYNE BAMBER’S CLWYD CASTLE

2025-10-16T06:55:00.000+02:00

Hello dear readers,

We’re thrilled to welcome back Jayne Bamber to My Jane Austen Book Club! Jayne is well known for her clever and creative Austen-inspired stories, and this autumn she’s bringing us something delightfully different — a whodunnit with a Jane Austen twist!

Just in time for Spooky Season, Jayne introduces her upcoming release, Clwyd Castle, a mystery inspired by the cult classic film Clue. Expect wit, intrigue, and a gathering of familiar Austen faces — including Elizabeth Bennet, Mr. Darcy, Henry Tilney, and even Lady Susan — all drawn into a darkly comic web of secrets and blackmail.

Let’s hear from Jayne herself and enjoy an exclusive excerpt from this thrilling new tale...

Hello, Readers! I hope everyone is having a wonderful autumn so far – I am here to make Spooky Season a little spookier with my upcoming release, “Clwyd Castle.”

Elizabeth, Mr. Darcy, and a horde of other Austen characters find themselves inveigled in a whodunnit inspired by the cult classic film, Clue!

A dozen guests are invited to Clwyd Castle (pronounced “clue-id”) by Henry Tilney, who uses the alias “Mr. Butler” to assemble the group of people being blackmailed by his father. But of course, his plans go awry almost immediately, as you will see in the excerpt I am sharing today….

JAYNE BAMBER

Excerpt

Mr. Tilney stood and called his guests to attention.

“Ladies and gentlemen, I am sure you all must feel some trepidation in accepting my invitation, despite the inducements promised. Some of you may have heard that I expected three additional guests to arrive tomorrow - my father the general, and Princess Elizabeth and Prince Edward. I have just received word from the royals that they shall be delayed a day or two, though my father is still expected tomorrow afternoon. As you may imagine, this presents some difficulty for me in delivering what was promised to you.”

The older man Elizabeth believed was called Sir Walter ceased flirting with the young lady at his side and set his fork down heavily. “You mean that General Tilney is coming here, and the royals are not?”

“As I said, they shall be delayed. It is not ideal, but….”

“But the general will surely suspect aught amiss with your choice of guests,” the young Mrs. Rushworth cried.

“Are we to hide in our rooms until the royals serve out justice,” the alluring woman in red scoffed. “Or have you tricked us?”

Miss Morland looked imploringly at Mr. Tilney. “Whatever can they mean?”

Elizabeth had finally had enough of all the mystery. “You might as well speak plainly, Mr. Tilney, for those of us who have no idea to what you refer.”

Mr. Tilney nodded. “There is no trick. You have all been summoned here because my father, who has worked for many years as a spy master for the Crown, has occupied himself most deviously in collecting not only state secrets, but malicious and damning information of a more personal nature, and has exploited it for his own gain. As I wrote to you all in the letters I sent last month, I mean to expose him for his many crimes against the Crown. Now that I am no longer dependent on my father, I am at liberty to put an end to his extortion. I have always meant to do so, since learning of his abuses, which go far beyond what you may realize. Of course, it will not do for him to arrive and discover a dozen of his victims all assembled before we can expose him to the prince and princess, and be sure of his silence when he is brought to justice. I believe a great many of you have not deserved to pay the steep price of his discretion, and I am sure that my royal guests will agree, when they finally arrive.”

“And what are we to do until then,” demanded Sir Edward, and Elizabeth’s heart sank. Her uncle was being blackmailed, and she was sure that it had something to do with her presence here.

“Lady Susan may have had a fine notion, in suggesting you keep to your rooms tomorrow,” Mr. Tilney said with a sigh. “I shall speak to him when he arrives, and get rid of him somehow. I shall send him to Northanger to retrieve my sister, perhaps; that will buy us a few days.”

“And in the meantime? I did not leave Bath to socialize with strangers of dubious quality in some remote backwater,” Sir Walter whined.

“You seem to be enjoying yourself as much as ever,” Lady Susan chided him. “Cannot your pursuit of a bride to give you a son wait a few days?”

The young lady who sat beside Sir Walter looked alarmed, and scooted her chair a little nearer to Miss Woodhouse, who sneered at the gentleman.

“You just be a great coxcomb, sir, to invite us all together like this,” Mr. Rushworth cried. “General Tilney is not a man to be trifled with, and I do not like it!”

Mr. Tilney inclined his head? Looking rather crestfallen. “I am sorry to hear it. I had imagined a different outcome, as I said. I had thought the evening would prove one of celebration, in ending my father’s vicious hold over you all.”

Mrs. Rushworth wrinkled her nose with disdain. “And instead we are to dine amongst strangers who all know us to be hiding some great secret, and who all have scandalous secrets of their own. I am not in the habit of dining in such company.”

“Are you not?” Lady Susan gave a wolfish grin and waggled her brows. “I reside chiefly in London, and move amongst the first circles. All the best people are hiding something, I assure you.”

Beside her, Sir Walter leered. “And some of us are not hiding their secrets especially well; they prefer their notoriety.”

The lady grinned at him. “If only my notoriety were enough to deter the attentions of the desperate.”

“Well, I think it is mad,” Mr. Rushworth insisted. “I was raised to be mindful of the company I keep. Mother would not approve.”

“You are welcome to depart, if it makes you uneasy,” Mr. Tilney said. “Take rooms at an inn, if you like, and I can send for you when the general is gone, and the royals have arrived.”

Mrs. Rushworth gave a sideward glance at the man beside her, and shook her head. “We will remain, so long as you are good as your word, sir. You have already deceived us with your false name.”

“I must hope to make amends by granting you what I am sure you have long desired… independence from my father’s machinations,” Mr. Tilney said smoothly. “When the royals are finished with him, you need not live in fear of his blackmail any longer. In the meanwhile, you may take solace in the company of others who understand what you have endured.”

Elizabeth looked over at Mr. Darcy. He gazed about the table with an expression equal measures guilty and suspicious, and somehow this was the most ominous moment of the evening.

What Happens Next?

Intrigued? We certainly are! Jayne’s Clwyd Castle promises sharp dialogue, atmospheric tension, and a fascinating mash-up of Austen’s beloved characters in a fresh, suspenseful setting.

Stay tuned for more from Jayne Bamber as we count down to her book’s release — and don’t forget to share your thoughts in the comments below! Which Austen character would you trust at a mysterious country house party?

ABOUT THE BOOK

Elizabeth Bennet and Fitzwilliam Darcy are trapped in a castle with twenty other Austen characters… and the bodies are starting to pile up….

Elizabeth Bennet is asked to accompany Sir Edward Gardiner on a journey to Wales, though he has been vague in explaining their purpose. When she arrives at Clwyd Castle, she meets new friends and an old nemesis, as well as many new companions just as secretive as Sir Edward.

When their charming host announces his plan to free his guests from the burden of blackmail at his father’s hands, good intentions quickly lead to an increasingly grim situation - and then the murders begin.

Elizabeth must decide who to trust, and Mr. Darcy quickly proves to be amongst the few people she can rely on when the castle is locked down and the murderer strikes again. And again.

Alliances form and allegiances are tested, and Elizabeth, Mr. Darcy, and those they trust are forced to take matters into their own hands, putting their lives at risk to expose the truth in the nick of time.

Check it at Amazon

IN THE PATH OF JANE AUSTEN: TRAVELS AND TALES

2025-10-06T08:30:00.001+02:00

Lory Lilian at My Jane Austen Book Club

Maria Grazia, thanks so much for having me. It is such a great pleasure to be here! While I have visited, read and enjoyed your blog many times over the years, this is my first blogpost and I am thrilled about it.

Story quote from Lory Lilian’s story, The Gallery of Second Chances

A year ago, Elizabeth had left behind Pemberley, Mr Darcy and all her hopes. Now, she was returning with her soul burdened by a gratitude she had no chance of expressing and the sorrow of a lost happiness.

Blurb from In the Path of Jane Austen: Travels and Tales

We will know where we have gone—we will recollect what we have seen.

—Pride and Prejudice Chapter 27

With a foundation of the prose created by six handpicked Austen-inspired authors who have selected a location from their travels upon which to base an Austenesque short story, this book is just as much a whimsical travelogue as an anthology of excellent Regency romance fiction and fantasy. Each author tells the story of their homage to Jane Austen during their past travels to the UK, with photos to enhance the tale.

Curated and edited by meticulous Regency romance and Austenesque editor Carol S. Bowes, the anthology/travelogue is a quality edition that will be sure to grace a few future trips to England by Janeites or settle on coffee tables for those who prefer to live vicariously through the travels of our authors and enjoy a variation or six.

Suzan Lauder, Kelly Miller, L.L. Diamond, Heather Moll, Lory Lilian, and Riana Everly are the six authors, and each one is known for their popular, engaging, and high-quality Austenesque novels, with many bestsellers and prize winners among them.

Profits from the sale of the book will go to the Jane Austen House Museum.

Author bio

Lory Lilian fell in love with Jane Austen’s work over forty years ago. After discovering the world of Austenesque books, Lory was further charmed, so she switched from her over twenty-five years’ career in business to being a full-time writer. She has published twenty-two bestselling Austenesque books over two decades and is plotting several others.

Over the years, she’s made many like-minded friends through her writing. Pride and Prejudice remains Lory’s favourite novel, especially because of the 1995 BBC/A&E production.

Lory lives in Romania, and has a wonderful daughter of whom she is exceedingly proud, plus several pets that she adores.

Excerpt from Gallery of Second Chances

Here is an excerpt from Lory Lilian’s story within the anthology, The Gallery of Second Chances.

When dinner was over, Elizabeth chose a convenient moment to approach Mr Darcy.

“Would you please meet me in the gallery tonight? Later on, after everybody is asleep. There is something of great importance I must speak to you about.”

“Of course,” he answered, puzzled. “Would you not rather speak now? We can go to the library for a few minutes.”

“No…I insist,” she said, and he nodded again.

An hour later, while Elizabeth counted the minutes with increasing anxiety, the party finally retired for the night. Her patience was further tested as Lydia continued to chat for a while before she finally fell asleep.

Elizabeth carefully stepped out of her chamber, closing the door behind her. Would she find the strength to break her heart into pieces?

She found Mr Darcy in the gallery, waiting, gazing out of the window. She walked towards him, her heart heavy, each step weakening her knees even more.

“I am so sorry…” she said quietly. “I do not know how to apologise…”

“There is no need for you to apologise. How is your sister?”

“Finally asleep. And Miss Darcy? Have you spoken to her?”

“I have. She was a little distressed, but not by your sister. She feared Wickham might come here too. I assured her that would not happen.”

“I am so sorry,” Elizabeth said again. “I knew Lydia was silly and weak-minded, but I never expected her to dare to come to Pemberley. She does whatever her husband says and cannot be made to see reason. But how did Wickham dare to come to Derbyshire and then send Lydia to your house? He came deliberately to torment Miss Darcy — and you. I am certain of that!”

“I cannot argue with you,” Mr Darcy replied with reasonable composure. “He probably convinced her to dine and sleep here tonight so he could play cards and drink with old friends. That has been his habit for the last ten years. And he probably sent his wife to extort some money from the Bingleys.”

“Dreadful, shameless, horrible man! I shall never forgive myself for trusting him and accusing you based on his deceitful claims!”

Tears of anger and frustration had formed in the corners of her eyes, and she wiped them angrily.

“Fitzwilliam, I was thinking…perhaps we have been too hasty with our engagement. We should have considered more carefully what it would mean for you and for Miss Darcy to be associated with George Wickham, with my family. I was selfish in that I allowed my wishes to harm you both.”

“Elizabeth, what are you saying? Come, sit for a moment and let us talk calmly.”

He gently pushed her towards the two chairs arranged either side of a small table by the window. The moon and the stars gave the room a gentle glow.

The gallery, once so dear to Elizabeth, seemed suddenly too large, too intimidating, too cold.

Mr Darcy took her hands over the table and brought them to his lips.

“How can you say we were hasty with our engagement when it was at least a year late? How can you believe that the association with Wickham — as embarrassing as it might be — can compare to my love for you?”

“I do not doubt your love for me, nor your desire for our union. But in a few months, in a few years, how will you bear to be considered Wickham’s brother?”

“I shall bear it, I am sure. Just as I bore watching him receive my father’s undeserved attention. But unlike those times, Wickham will never be allowed to set foot at Pemberley, nor near Georgiana. I shall have a conversation with him tomorrow morning and warn him.”

“This is worse, Fitzwilliam, because now he does not even trouble himself enough to conceal his shameless character. He is repaying your generosity with undisguised impertinence. And he will behave even worse, will seek more advantages when he finds out about our engagement! He will brag in society about being your brother. And once we are married, we might happen upon him either at Longbourn or at the Bingleys’ estate. I expect no decency on his side.”

Her voice had become heavy with restrained tears. He kissed her hands again.

“Elizabeth, I know too well what to expect from Wickham, but I also expect you not to surrender to his schemes so easily. You cannot possibly imagine I would allow him — or anyone — to ruin our engagement. I hope you will fight for it as hard as I shall.”

Contact Info for Ms. Lilian

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Buy Link for In the Path of Jane Austen: Travels and Tales

https://bookgoodies.com/a/B0FQ6HZSGG

Blog Tour Schedule

October 6, 2025: Lory Lilian is at My Jane Austen Book Club

October 7: Kelly Miller is at My JAFF Obsession

October 8: Suzan Lauder is at My Vices and Weaknesses

October 9: Heather Moll is with Sophia Rose

October 10: Riana Everly is at Interests of a Jane Austen Girl

October 11, 2025: Carol Bowes is at From Pemberley to Milton

IN HIS OWN WORDS: AN INTERVIEW WITH SHANNON WINSLOW ON CAPTAIN WENTWORTH

2025-10-02T09:00:00.001+02:00

Today on My Jane Austen Book Club, I’m delighted to welcome back author Shannon Winslow, a dear friend of our community and well known for her insightful Austen-inspired novels. Her latest release, Captain Wentworth – In His Own Words (out September 18th), invites us to experience Persuasion anew through the eyes of one of Jane Austen’s most beloved heroes. Shannon generously joined me for an interview to talk about her inspiration, her process, and the joys (and challenges!) of giving Captain Wentworth his own voice. I hope you’ll enjoy reading her answers as much as I did! MG

Captain Wentworth is such a beloved character in the Austen universe. What drew you to telling his story “In his own words”?

I’ve thoroughly enjoyed writing each book in this series, and it was definitely Captain Wentworth’s turn to have his say! Persuasion is one of my very favourite books (a close second to Pride and Prejudice), and so I was excited to have a good reason to finally return to it. It’s hard for me to believe, but The Persuasion of Miss Jane Austen – my only other Persuasion tie-in and possibly my best work – was published over ten years ago now.

In Persuasion, we only see Wentworth through Anne Elliot’s perspective. How did you approach finding and shaping his unique voice?

Exactly! We only see Austen’s heroes through her heroines’ eyes, which leaves so much of the story untold. Or in other words, one big blank for me to fill in! That’s what I’ve discovered I enjoy doing most. I look for what’s missing, a place where I can supplement the stories we love so much, filling in and rounding out the world of the characters Austen created.

So I always start with a careful study of the original novel: what’s there and what’s missing. Then it feels like I’m “discovering” what belongs in the gaps, rather than “inventing” it. In Wentworth’s case, I needed to figure out what could have happened in his background to shape his character and the behaviour we see later. What had past experience taught him?

This book continues your “…in His Own Words” series. How does Captain Wentworth’s journey compare to those of the other Austen heroes you’ve written about?

Wentworth is, I believe, Austen’s most flawed hero, and in many ways he has further to go than the rest. But that’s what makes his character arc especially satisfying.

He’s also unique among Austen’s heroes in that he’s not from the landed gentry class. He’s a self-made man from fairly humble beginnings, which I think makes him feel a bit more approachable and relatable to the average reader. We can admire him for how he’s risen and succeeded by hard work and his own wits. And we can love him for how he redeems himself in the end.

Writing from a male perspective in a Regency world often dominated by women’s voices must pose special challenges. What aspects of Wentworth’s story were the hardest — or most rewarding — to capture?

I feel like I have gained at least a little insight into the male perspective by having lived with men all my life: my father, my brother, then my husband and two sons. And I normally have at least one male friend read the books before publication to catch me where I might have gone too far off course.

This book, though, did pose a special challenge. I was full of trepidation at the prospect of trying to convincingly write the sailing scenes (which I knew I couldn’t reasonably leave out of Wentworth’s backstory). Then fellow Austenesque author Jack Caldwell came to the rescue, volunteering his knowledgeable assistance. I’m not sure how I would have managed without him.

Were there moments in Austen’s Persuasion that you especially enjoyed expanding upon or reimagining through Wentworth’s eyes?

Oh, yes! So many! Some of my favourite scenes are those that show Anne and Wentworth’s earlier relationship, which is only briefly mentioned in the original novel. So I got to write how they met and fell in love, and then their painful parting. The dialogue of the break-up scene was especially compelling to write. Kind of like a train wreck; horrible, and yet you can’t look away.

Another special part was telling how Wentworth felt upon returning to Kellynch all those years later, somewhat like a conquering hero. He’s now the rich and successful one. His former detractors (the Elliots) have been humbled and deposed, and Kellynch has fallen into the more worthy hands of Wentworth’s own relations. It’s a bittersweet victory, though, since painful memories still lingered in that place.

Many readers adore the famous letter Wentworth writes to Anne near the end of Persuasion. How did you handle such an iconic moment in your retelling?

Yes, that was wonderful chapter to write! Again, other than Wentworth’s words in the letter itself, we only see the scene through Anne’s eye in Persuasion. My focus would be entirely different. I wanted to include the letter itself, of course, but also all Wentworth’s thoughts, feelings, and motivations that framed it.

I considered his state of mind before coming to the White Hart that day, deciding he intended to just be patient, do nothing rash. Once there, though, things changed. So what exactly did he see and hear – particularly of that conversation between Anne and Captain Harville – and how did it affect him? Something in it caused him to take decisive action! Then there was the tricky business of making sure Anne (and only Anne) noticed the letter. His suspense wasn’t over yet, though. Remember, he had to go uncertain of his fate! It wasn’t until Anne emerged and they met again that their renewed mutual attachment was finally confirmed.

What do you hope readers will take away from Captain Wentworth – In His Own Words that they might not find in Austen’s original narrative?

There are at least two sides to every story, and even eye witnesses rarely see things exactly the same way. What the listener hears isn’t always what the speaker meant, and we often misjudge the motives for how people behave.

When you know Wentworth’s whole story, I hope you will understand him better. He’s a flawed but essentially honourable man who has often proved to be his own worst enemy. Over the course of this book, he learns to let go of the things that stand in the way of his own happiness, to subdue his almighty pride for the sake of the woman he loves. I find that kind of journey very satisfying, and I hope readers will too.

And finally, can you give us a little hint — do you already have another Austen character in mind for a future “…in His Own Words” book?

I haven’t definitely decided what to write next, but I will say this. Of the Austen men who are left, Henry Tilney is the current frontrunner!

ABOUT THE BOOK

Captain Wentworth has a lot of explaining to do!Why did he fly off in such an unreasonable rage when Anne tried to put their engagement on hold? And why didn’t he come back to try her again as soon as he was more financially secure? So much time wasted! What about his bad behavior when they met again years later – flirting with the Musgrove girls right in front of Anne? Was that really necessary?

Find the answers in Captain Wentworth in His Own Words. Catch a glimpse of his difficult childhood, and learn how he ended up in the Navy so young. Witness his first meeting with Anne, their falling in love, and tragic parting. Sail along on his daring adventures at sea. Before he meets Anne again, Captain Wentworth has travelled the globe. He’s risen to riches and respect. Yet, he’s still missing the one thingneeded tocrown all his other success: the woman he’s never stopped loving.

Thisis not a variation from but a supplement to the original story ofPersuasion, chronicled in Wentworth’s point of view. It’s a behind-the-scenes look at the things Jane Austen didn’t tell us about one of her most iconic heroes.

ABOUT THE AUTHOR

An ordinary trip to Costco about fifteen years ago forever changed Shannon Winslow’s life. That’s when she picked up her first copy of the ’95 miniseries of Pride and Prejudice. She’s been hopelessly hooked on all things Jane Austen ever since, her obsession ultimately inspiring her to write her own stories a la Austen. She takes a little different approach to JAFF, though. Rather than varying from canon, she prefers to add onto the original novels with prequel, sequel, and supplemental views. To date, she has authored fifteen books, with no end to her creative output in sight. Her two sons now grown, Shannon lives with her husband in the log home they built in the countryside south of Seattle, where she writes and paints in her studio facing Mr. Rainier. Find Shannon’s books at Amazon, visit her at her website/blog, and follow her on Facebook.

COLOUR, EMOTION AND MR DARCY: INSIDE BARRY S. RICHMAN'S NEWEST PRIDE AND PREJUDICE VARIATION

2025-10-01T09:00:00.001+02:00

By Maria Grazia, My Jane Austen Book Club

Today on My Jane Austen Book Club, I’m delighted to welcome back Barry S. Richman, author of the beloved Follow the Drum. With his second Pride and Prejudice variation, Color My World, he offers another bold and imaginative reimagining of Austen’s classic. In this new tale, Elizabeth Bennet awakens from a fall with a remarkable ability: she sees people’s emotions as colors—except in one man. Fitzwilliam Darcy is a void. A mystery. And against her better judgment, she’s drawn in. With emotional insight, quiet magic, and a sharper focus on Mr. Bennet, Color My World promises to be a deeply affecting romance.

Welcome back, Barry! Your new Pride and Prejudice variation, Colour My World, introduces a fascinating concept—Elizabeth perceives emotions in colour. What inspired this idea? Did it stem from synaesthesia, fantasy, or something more symbolic.

Thank you—it’s wonderful to be back! The idea arose from Austen’s depiction of Elizabeth’s tendency to judge others by her own opinion—and often poorly. I turned that trait into something physical by giving her the ability to see emotions in colour, using synaesthesia as a symbolic device rather than fantasy.

Elizabeth’s inability to "see" Darcy is such a compelling choice. How did you develop that contrast, and what does it say about their relationship?

She cannot see his aire, which opens the door to misunderstanding his character. Because she relies so heavily on this gift, its absence leaves her floundering. Instead of trusting her other senses, she clings to what is futile. It also becomes comic, since she cannot see her own aire either—an indication that she does not yet understand herself.

This Darcy carries heavy emotional weight—from loss, duty, and idealism. How did you shape his arc differently from your military variation in Follow the Drum?

Darcy does not appear in Follow the Drum until Elizabeth leaves Longbourn for Derbyshire; they meet as adults with only her backstory known. In Colour My World, his childhood and bond with his mother open the book, establishing one of two paths that later converge in Meryton. Their interactions form one side of a double-headed coin, with Elizabeth and her riding accident as the other.

The role of Mr. Bennet seems more prominent and emotionally layered in this book. What inspired you to give him such narrative presence?

Our genre often relies on an outside villain, but in Colour My World I chose differently. Elizabeth and Darcy create their own obstacles, becoming their own worst enemies. Mr Bennet serves as the catalyst—watching, needling, and provoking—while ultimately guiding them toward resolution, and taking no small amusement at everyone’s expense.

Colour is such a vivid and visual storytelling device. How did you decide which colours matched which emotions, and how did that affect how you wrote key scenes?

I chose colours that felt instinctive. Affection is gold—warm, steady, unmistakable in family moments and Darcy’s guarded care for Georgiana. Envy is green—sharp, flickering, easy to catch in Caroline Bingley. Fear is grey—dulling the aire, like a shadow pulling tight. Anger is red, quick and hot, most vivid in confrontations. These choices shaped Elizabeth’s perception of truth and controlled the tension, humour, or conflict in entire scenes.

With Elizabeth unable to read Darcy’s emotional cues, the usual misunderstandings take on a different kind of tension. How does that shift their romantic dynamic?

Elizabeth’s inability to read Darcy strips her of the certainty she feels with others, leaving her unsettled and defensive. She leans too heavily on a gift that fails her, which makes her prone to misjudging him even more. In its absence, her natural senses intrude—she notices his pleasing features and hears his spoken regard—yet resists believing either. Their tension grows from silence and absence rather than open conflict, making the slow emergence of trust all the more powerful.

This variation feels like it blends Austen’s realism with a subtle layer of magical or emotional fantasy. How did you strike that balance while keeping the story grounded?

At the beginning of the book, I included a note to guide readers toward seeing Elizabeth’s perception as a rare scientific phenomenon rather than fantasy. That framing was important, because I wanted the story to remain within Austen’s world of manners and character. I deliberately avoided language that suggested magical realism, treating the colours as an extraordinary but natural extension of perception—remarkable, but hopefully, believable.

After the response to Follow the Drum, did you change how you approached Colour My World—either in confidence or pressure?

No, because I was already more than halfway through Colour My World when Follow the Drum was released. From the beginning, I intended this book to centre entirely on Elizabeth and Darcy, and to do so in a lighter tone. Their story has always been a romance of the ages, and I wanted to give them their full due—no kidnappings, no violent actions, no crimes—only the challenge of overcoming themselves and learning to understand each other.

Colour My World arrives October 2, 2025

Order your copy on Amazon here.

BECOMING MRS. DARCY: AN INTERVIEW WITH J. B. GRANTHAM

2025-09-29T09:00:00.014+02:00

Check it out at Amazon

This autumn brings an exciting new addition to the world of Jane Austen-inspired fiction. On Michaelmas, 29 September 2025, J.B. Grantham will publish Becoming Mrs. Darcy: Elizabeth’s Chronicles (Volume I) — the first installment in a thoughtful and heartfelt sequel to Pride and Prejudice. To mark the occasion, we are delighted to share an interview, in which she discusses the inspirations behind her new book, the challenges of writing in Austen’s voice and what readers can expect from Mrs. Darcy’s story.

Interview

On the Release of Becoming Mrs. Darcy: Elizabeth’s Chronicles (Volume I): 29 September 2025

Julia, congratulations on the publication of your new book Becoming Mrs. Darcy. Can you tell us what inspired you to write a sequel to Pride and Prejudice?

Thank you! It will not surprise anyone that Pride and Prejudice is my favourite of Austen’s novels and, like many readers, I always feel a little sad when it ends. I simply want the characters to remain in my life. That is how, many years ago, I began my first Elizabeth Bennet page on Facebook, following her life day by day, two hundred years later. It was easy to calculate: her married life began in 1813, and I launched the page in 2013. Since then, Elizabeth and Darcy have lived in my imagination, even after that first page was lost in the mysterious, bottomless vortex of the internet. After passing through all the stages of grief over that loss, I eventually resurfaced and resolved to begin again – this time in a more literary form, with the hope of one day publishing Elizabeth’s story as a book.

Why did you choose the diary form rather than a conventional narrative?

In a curious way, the choice was made for me, given the story of its conception as the Facebook page I was writing from Elizabeth’s point of view. When I first began that page, it was in Elizabeth’s own voice, and I discovered that it came quite naturally – I “felt” her. It suited my purpose perfectly, for I wished to give Elizabeth her own voice as she stepped into married life: first in the intimate form of a diary, and now, in the book, as a reflective reminiscence, looking back upon those early years from a later vantage point.

Elizabeth’s perspective allows readers to experience her world directly, with her lively intelligence and candid reflections. It creates an immediacy – as though she were confiding in us, sharing her joys, doubts, and discoveries in real time. Yet this form brings challenges too. Elizabeth, though almost universally loved and admired, is not without flaws – nor did I wish to portray her as flawless. We remember her mistakes in the original novel, and some of these return to trouble her in married life.

Through this close access to her mind, we also glimpse her doubts, fears, and griefs – things she would never show openly, and which would be lost in a third-person account – yet which she must wrestle with, as we all do. I felt compelled to portray these struggles. They make Elizabeth human: a real young woman, still vulnerable within, however strong she may appear without.

How did you decide which real historical figures to weave into Elizabeth’s world, and what was it like bringing them to life alongside Austen’s characters?

In the first volume, the two principal historical figures I introduce are the Duke of Devonshire and his elder sister, Lady Morpeth. The choice came quite naturally. Jane Austen explicitly places Mr. Darcy’s estate, Pemberley, in Derbyshire, and another distinguished estate – indeed the most renowned in the county – is Chatsworth, the ancestral seat of the Dukes of Devonshire. It seemed fitting that the Darcys and the Cavendishes should be neighbours: not in the sense of meeting casually in the street, of course, but as fellow owners of the two greatest estates in Derbyshire.

Once I began researching their birthdays and family history, the idea made more and more sense. Even the detail that Mr. Darcy’s sister is called Georgiana echoed real life, where the celebrated Duchess of Devonshire bore the same name. In my narrative, she becomes Georgiana Darcy’s godmother. There are other parallels, too, which will unfold as the story progresses.

Looking ahead, I plan to introduce several more historical figures in the subsequent volumes, each of whom will exert a powerful influence on the narrative.

About the Book

Becoming Mrs. Darcy: Elizabeth’s Chronicles (Volume I) invites readers to step into Elizabeth Bennet’s world as she begins her married life with Mr. Darcy. Written in Elizabeth’s reflective voice, the book captures both the joys and the challenges of her new role as mistress of Pemberley. Through diary-like intimacy, we are given access to her lively thoughts, candid feelings, and private struggles.

Julia B. Grantham enriches Austen’s fictional world with historical realism, weaving in figures such as the Duke of Devonshire and Lady Morpeth, and drawing fascinating parallels with the society of the time. Volume I is only the beginning, with more historical encounters and personal developments to come in future installments.

Buy the book

About the Author

Julia B. Grantham is a British author whose lifelong love of Jane Austen has inspired her to create new stories in the spirit of Austen’s world. She is the author of the much-loved coffee-table book Mr Darcy’s Guide to Pemberley and connects with thousands of Austen enthusiasts on her popular Facebook page Elizabeth Darcy.

Alongside her Austen-inspired works, Julia is also the creator of the bestselling children’s books A Mole Like No Other and Moley and the Mysterious Sea Turtles, both warmly received by readers and the press. She proudly serves as an Ambassador for the Jane Austen Literacy Foundation, founded by Austen’s great-niece Caroline Jane Knight, reflecting her dedication to literacy and education.

With Becoming Mrs. Darcy: Elizabeth’s Chronicles, Julia opens a new chapter for one of literature’s most beloved heroines, blending fidelity to Austen’s spirit with her own imaginative storytelling.

THE WORLDS OF JANE AUSTEN: IN CONVERSATION WITH DR HELENA KELLY

2025-09-25T09:00:00.001+02:00

Today, on the very day of its release—25th September 2025—we are delighted to celebrate Dr Helena Kelly’s new book, The Worlds of Jane Austen (Frances Lincoln). Published to coincide with the 250th anniversary of Jane Austen’s birth, this fascinating work invites readers to step beyond the familiar image of drawing rooms and tea parties, and instead discover the turbulent world of revolution, war, and social change that shaped Austen’s life and writing.

Helena Kelly, already well known to Austen readers for her groundbreaking Jane Austen, the Secret Radical, brings her characteristic insight and lively style to this beautifully illustrated volume. Drawing on the latest research, she shows us an Austen who is sharper, bolder, and more engaged with the great issues of her time than many have imagined—an author whose voice still resonates powerfully today.

We had the pleasure of speaking with Helena about her new book, Austen’s enduring relevance, and the surprising connections between the novelist’s world and our own.

Interview

The Worlds of Jane Austen coincides with the 250th anniversary of Austen’s birth. What inspired you to write this book now, and how do you see it fitting into current conversations about Austen’s legacy?

I was actually approached by a publisher, Quarto, who specialize in illustrated books. They produce lots of children’s books, lots on gardening and cookery and they have quite a few ‘Worlds of …’ books, which are aimed at different fandoms. Their books are beautiful. But what I found so exciting – and inspiring – about the project was that they weren’t just looking for fan-service. They were clear right from the beginning that they wanted some of the more challenging historical context to be included – colonialism, slavery, warfare. They wanted a book which engaged with some of the big conversations that we’ve been starting to have in recent years.

Many readers picture Austen’s world as quiet and genteel, yet your book emphasizes revolution, war and social upheaval. Which historical context do you think is most overlooked when people talk about Jane Austen?

I think the biggest and most significant piece of historical context that tends to get overlooked is that Britain was at war for nearly the entirety of Austen’s life. Some of those wars were distant but the largest, longest one – with France – was very close indeed. The two brothers closest to Jane in age were in the Royal Navy. There was also a genuine fear of invasion and that wasn’t baseless: France attempted to invade the mainland and it landed troops in Ireland to support the Uprising of 1798.

It's rather odd, really. It’s been claimed repeatedly that Austen chose to ignore the war in her fiction when she doesn’t. She mentions French refugees in Sense and Sensibility, for example. All of Pride and Prejudice is set during wartime – that’s made clear at the end of the novel. Persuasion is set precisely within the ‘false peace’ of summer 1814 to March 1815, with the main narrative finishing the very week Napoleon escaped from Elba. It’s a violent world; it’s one that’s full of threat and uncertainty.

In your research, did you come across anything that genuinely surprised you about Austen’s life or the influences shaping her writing?

There were two things that did come as a surprise – perhaps not coincidentally things that Jane’s nephew James-Edward Austen-Leigh carefully failed to mention in his still highly-influential Memoir. My first book on Austen was much more literary criticism than biography and so this project was the first time I’d properly delved back into the family tree and people’s wills and so on. I was genuinely amazed to discover that Austen’s paternal grandmother, Rebecca, was not only one of five daughters, with sisters who were named Jane, Elizabeth, Mary and Kitty, but that she had got married more or less secretly in London. And I was also amazed to discover that Rebecca’s entire family exploited enslaved individuals in Jamaica. It’s something that’s barely been talked about even when people have been writing about the family’s connections to slavery and we do need to talk about it. I think it’s clear that Austen’s own sympathies were strongly pro-abolition, but that really doesn’t seem to have been the case for her family.

Read our interview with Helena Kelly about Jane Austen the Secret Radical

You’ve written previously about Austen as a “secret radical.” How does The Worlds of Jane Austen build on or diverge from the ideas you explored in Jane Austen, the Secret Radical?

In Jane Austen, the Secret Radical I was making a particular argument: that Austen was always engaging with big and controversial issues but that because three of her six novels were published so long after they’d first been written readers never quite got to grips with how topical a writer she was – and then didn’t know how to deal with the more obviously topical material in her other work.

With The Worlds of Jane Austen I’m not really making an argument or insisting on one particular interpretation – instead I’m taking readers on a journey through Austen’s world, and the worlds she’s inspired. It also ranges much more widely than Secret Radical: we go from Jane’s grandparents all the way down to this year and there are chapters which look at Jane’s cultural legacy through the Victorian period and the world wars and the founding of the Jane Austen Society and Austenmania. I touch on Bridgerton and Sanditon and Fire Island and Miss Austen, on how Austen’s popularity has spread around the world, and on fans and merchandise. It’s an exploration and a celebration.

Austen’s works often feel timeless to readers. In what ways do you think her observations on gender, class or politics remain most relevant today?

I think part of the reason Austen’s work feels timeless is because she and her characters are living through the birth of the modern world. Her novels speak in very modern ways about individuality and self-worth and the process of learning how to think deeply and ethically for yourself. Austen teaches us interrogate authority, to question whether birth or wealth or titles demonstrate any innate superiority. She gives us heroines who don’t simply accept what they’re told, who don’t defer to their elders or their menfolk to tell them what to think.

The book includes illustrations alongside your analysis. How did the visual elements shape the storytelling, and what do they add to our understanding of Austen’s world?

The pictures were part of the structuring and planning of the book from the beginning. There were certain ideas and events and places that I wanted to show readers, not just tell them about, and I wanted to explore as well how the adaptations and Austen-adjacent films and TV series compare to what was happening in reality during Austen’s lifetime.

ABOUT THE BOOK

The Worlds of Jane Austen invites readers to see one of Britain’s most beloved authors in a completely new light.

Far from the quiet world of country houses and tea parties, Austen lived through revolution, war and major social change, and her sharp, observant fiction reveals just how engaged she was with the issues of her time.

This lively and accessible guide explores the people, politics and places that shaped Austen’s life and work.

It features expert insight from bestselling author Helena Kelly alongside over 150 photographs, artworks and illustrations that bring her world vividly to life.

Whether you are discovering Austen for the first time or returning to her novels with fresh eyes, The Worlds of Jane Austen is the perfect companion for curious readers, literature lovers and admirers of classic storytelling.

WITTY, WILD AND WONDERFULLY AUSTEN: A CONVERSATION WITH DEVONEY LOOSER

2025-09-22T10:46:00.000+02:00

Just when you thought you knew everything about Jane Austen—her novels, her needlework, her famously “quiet” life—along comes a book that turns the tea table upside down. In Wild for Austen, acclaimed scholar (and roller derby alter ego Stone Cold Jane Austen) Devoney Looser invites us to meet a bolder, brasher version of the beloved author—one who was far more entangled with radical politics, wild relatives, and unexpected cultural legacies than many of us ever imagined.

Publishing just in time for Austen’s 250th birthday in 2025, Wild for Austen is a fast-paced, deeply researched, and delightfully irreverent look at the author’s life, her lesser-known writings, and her still-growing impact on literature and popular culture. Whether she’s tracing Austen’s connection to abolitionism, recounting real-life ghost sightings, or unpacking the legal uses of Pride and Prejudice in court, Looser does it with both scholarly rigor and sparkling wit.

I had the pleasure of asking Devoney a few questions about her book, her research adventures, and what she thinks Jane Austen might say if she picked up Wild for Austen herself…

Your book promises a “wilder” Jane Austen than the one readers may know. What are some of the biggest myths or misconceptions about Austen you set out to challenge in Wild for Austen?

The idea that Austen’s life and writings were mild, safe, and small is a myth that has had incredible and unfortunate staying power. It’s baked into the legendary stories often told about her, such as that she lived a little, boring life in which nothing happened, she modestly hid her writing, and she knew no other authors. I set out to show that pronouncements of her mildness are not just highly misleading but largely untrue.

My book collects the evidence that shows that Austen’s life and writings had a legitimate wild side, that she came from an extended family full of women writers, and that she belonged to a robust social circle where she rubbed elbows with some fascinating, notorious people. The book’s chapter on Austen’s connection to a Regency-era James Bond and his glamorous opera diva wife may come as a surprise to readers!

From Austen-related ghost sightings to her family’s scandalous stories—your book offers some truly unexpected corners of history. What was the most surprising discovery you made while writing it?

First, I want to be clear that I’m not the only scholar to argue for Austen’s wildness! There’s a long, legitimate history of that, too, as I describe. But what my book is trying to do—through new close readings of all her writings, by telling fun stories, and with new, hard evidence—is show which parts of her writings, life, and legacy rightly deserve to be recast as “wild.”

I especially loved discovering new facts and stories about her legacy—that the first time her novels were mentioned in a British court of law was 1825 (in a “breach of promise of marriage” case) or that a famous excerpt from Austen’s Emma was made its way to public stages performed almost exclusively by men in what were called “female impersonators,” starting in the 1860s. I also enjoyed research findings that tell the story of how Judy Garland’s almost starred in a Pride and Prejudice musical in 1947.

You explore Austen’s links to movements like abolition and women’s suffrage. How do these connections reshape our understanding of her as a political thinker?

The myth still circulates that Austen herself was apolitical and that her family was made up of quiet, conservative, country Tories—so she must have been one, too. Both her own politics and those of her immediate family aren’t so straight forward. I see evidence of her being reform-minded on many of the hot-button issues of her day. I also unearthed evidence of the public anti-slavery activism of three Austen brothers (Henry, Charles, and Frank), beginning shortly after Jane’s death. I previously published a few essays about that, the first one in 2021, but I’ve put the whole story together in one chapter of this book. Another chapter looks at her Victorian collateral descendants, who were active on both sides of the women’s suffrage debates, with the most visible being on the anti-suffrage side! I don’t think Jane Austen would have agreed with them, and there were women’s suffrage activists saying so publicly then, too.

What I think these details show us is that Austen’s political thinking, and the political thinking she was surrounded by, was active and robust. So when we find moments in her novels or letters that seem to veer into political territory, we shouldn’t be quick to dismiss them. Austen jokes in a private letter from 1813 that she’s in love with the writer Thomas Clarkson, a famous abolitionist. There’s more reason than ever to take her at her word here, thanks to these new findings. And there’s surely more to discover.

Many readers think of Austen primarily through her six major novels. What can we learn by paying closer attention to her juvenilia, unfinished works, or lesser-known writings?

Reading Austen’s writings beyond her six full-length novels, especially if you’ve never done so before, is eyebrow raising, to say the least. People who think of Austen as a quiet, inexperienced spinster writing sentimental love stories will have their minds blown. I’m especially fond of the juvenilia, written in her early teens, which features hilarious episodes of drunkenness, theft, adultery, bloody deaths, and even a little light cannibalism! Once you’ve read the juvenilia, I think you’ll see the comedy, irony, satire, and social criticism in the complete novels through different eyes, too.

Austen’s legacy has taken on a life of its own in pop culture. How do you see modern adaptations—whether film, fiction, or even memes—contributing to or distorting who Austen was?

I’m going to pause a moment on the word “distorting” here, because, of course, all biography and all adaptation are, to some degree both contributions to and distortions of their original subjects, right? But I take the spirit of your question, and any discuss of Austen’s place on a continuum from mild to wild would have to talk about both contributions and distortions. I think what I’m most interested in is how the “life of its own” part you mentions prompts debates and in investigating how audiences respond. So I think I’ll just answer this one by saying that I’m absolutely fascinated by Austen in pop culture, although I don’t love all of the film and print adaptations or all of the memes equally!

You write that this book is a tribute to Austen’s “untamed genius.” What moments in her writing strike you as especially bold, radical, or ahead of their time?

All of the juvenilia! And definitely her novella Lady Susan. Lady Susan is all three—bold, radical, and ahead of its time.

You’re known for blending rigorous scholarship with humour and accessibility. How did you balance those tones while writing Wild for Austen?

This is both a question and a compliment, so thank you! In Wild for Austen, I set out to write an accessible book for a wide audience, while drawing on my training and skills as a scholarly researcher. With any luck, what I’ve delivered is the best of both worlds?

I think of it less as a balancing at than as a commitment to reaching a body of readers who might be frustrated by running across specialized terms that sometimes seem needlessly distancing or off-putting. (I do sometimes write for other scholars but mostly in journal articles, not any longer in my books.)

I also think it should be a literary critical crime to write about Austen without occasionally trying to be funny. I hope some of my jokes in the pages of Wild for Austen do land. You can’t always be sure! I’ve tried out some of the comic material before live audiences but not all of it.

Your own persona—“Stone Cold Jane Austen” on the roller derby track—is delightfully unexpected! How has that alter ego influenced your scholarly approach to Austen?

This is a great question. I think discovering roller derby in my early 40s shifted my perspective as a scholar, especially in terms of learning something entirely new at an age in which many things in my life were “set” and in embracing new kinds of risk-taking. I dedicated the book to the roller derby community who “got me rolling, knocked me down, and lifted me up, not only as Stone Cold Jane Austen but as a stronger and more joyful teacher-scholar.”

I think both the roller derby community and Jane Austen’s most famous heroine, Elizabeth Bennet, share a tendency or an ability to delight in anything ridiculous. I’m not saying literature or roller derby are unserious! I’m saying they’re both chock full of people (and characters) who are incredibly strong, unapologetically smart, and able to laugh at themselves and the world around them when it’s deserved.

If Jane Austen could read Wild for Austen, how do you imagine she’d respond? Wry amusement? Embarrassment? Approval?

Oh dear. Well, I hate the idea of her delighting in my or my book’s ridiculousness, but that’s the price we pay in putting pen to paper in following in her footsteps.

What do you hope readers will walk away with—not just about Jane Austen, but about the value of looking deeper into literary history?

I hope that readers will want to read or reread Jane Austen—and learn more about the Regency era—with a renewed sense of possibility and purpose. I especially hope readers will want do so while embracing Austen’s, and their own, wild side.

ABOUT THE BOOK

Incisive, funny, and deeply-researched insights into the life, writing, and legacy of Jane Austen, by the preeminent scholar Devoney Looser.

Thieves! Spies! Abolitionists! Ghosts! If we ever truly believed Jane Austen to be a quiet spinster, scholar Devoney Looser puts that myth to rest at last in Wild for Austen. These, and many other events and characters, come to life throughout this rollicking book. Austen, we learn, was far wilder in her time than we’ve given her credit for, and Looser traces the fascinating and fantastical journey her legacy has taken over the past 250 years.

All six of Austen’s completed novels are examined here, and Looser uncovers striking new gems therein, as well as in Austen’s juvenilia, unfinished fiction, and even essays and poetry. Looser also takes on entirely new scholarship, writing about Austen’s relationship to the abolitionist movement and women’s suffrage. In examining the legacy of Austen’s works, Looser reveals the film adaptations that might have changed Hollywood history had they come to fruition, and tells extraordinary stories of ghost-sightings, Austen novels cited in courts of law, and the eclectic members of the Austen extended family whose own outrageous lives seem wilder than fiction.

Written with warmth, humor, and remarkable details never before published, Wild for Austen is the ultimate tribute to Jane Austen.

ABOUT THE AUTHOR

Devoney Looser is Regents Professor of English at Arizona State University and the author or editor of eleven books on women’s writing and Jane Austen. Her most recent work includes Sister Novelists: The Trailblazing Porter Sisters, Who Paved the Way for Austen and the Brontës (2022), supported by a Guggenheim Fellowship and a National Endowment for the Humanities Public Scholar Award, as well as The Making of Jane Austen and The Daily Jane Austen. She has also created audio and video lessons on Austen for The Great Courses and Audible. Devoney shares updates and reflections in her free newsletter Counterpoise on Substack.

JANE AUSTEN ON WRITING: TEN INSPIRING QUOTES

2025-09-17T21:43:00.001+02:00

Anne Hathaway as Jane Austen, Becoming Jane 2007

I recently came across a fascinating article in Italian on Libreriamo about Jane Austen’s reflections on writing. Since most of my readers are based in the UK, the US, and other English-speaking countries, I wanted to share it here in English, together with the quotes that inspired me.

A Woman Writing in Silence and in Strength

Jane Austen is celebrated today as one of the giants of English literature, yet during her lifetime she never received public recognition for her work. She published anonymously — her beloved Pride and Prejudice appeared in 1813 under the simple description “By a Lady”. At home, she often wrote in secret, hiding her manuscripts quickly if someone entered the room.

The world she lived in was governed by men and left little space for women’s voices in the public sphere. But Austen was never silent. Through her novels and letters, she built a literary space that was witty, ironic, and profoundly observant. Writing for her was not only a private pleasure but also a subtle act of resistance: an affirmation that women could think, create, and laugh at the world around them.

It is this spirit that makes her reflections on writing so compelling today. Whether playful or serious, they reveal an author who understood both the challenges and the joys of her craft.

Here are ten quotes from Jane Austen’s letters (and a few reported remarks) that capture her wit, her modesty, and her unshakable commitment to writing.

Ten Quotes from Jane Austen on Writing

“I will take care of two curtseys on paper.”
– Letter to Cassandra
Even the smallest social gesture, when observed with her sharp eye, could become literature.
“There is nothing one cannot say in a letter, except what one really wishes to say.”
– Letter to Cassandra
For Austen, the letter was both intimate and performative, a place where truth always played hide-and-seek.
“I have never been able to hear the applause without feeling a desire to write.”
– Letter to Cassandra
Praise did not inflate her ego; it motivated her to create more.
“My idea of an author is one who can make something interesting out of what he knows well.”
– Letter to James Stanier Clarke
A sharp reminder that writing grows not from fantasy alone, but from a deep engagement with reality.
“Composition is now performed with little labor and great enjoyment.”
– Letter to Cassandra
A glimpse of Austen at her happiest: letting words flow freely, with joy and ease.
“Every woman should write for her own pleasure, even if no one ever reads it.”
– Attributed remark (apocryphal)
Whether or not this is authentically hers, it certainly reflects her spirit: authenticity before ambition.
“I should like to write something very good which should be very much like myself.”
– Letter to Cassandra
A testament to her longing for truth in art — to create something honest, something that reflected who she was.
“My style is too light and unpretending to suit the pen of a great author.”
– Letter to James Stanier Clarke
Modest, ironic, yet fiercely protective of her unique style: light but never superficial.
“Writing is my delight; when real life wearies me, I retreat into my pages.”
– Reconstructed from letters
Writing as refuge, as solace, as the place where she felt most alive.
“I feel like a negligent mother for my poor Mansfield Park, so little loved by all.”
– Letter to Cassandra
Tender and humorous, showing her affection for her works as if they were her children.

Anne Hathaway as Jane Austen, Becoming Jane 2007

Why These Words Still Matter

What I love most about these reflections is their timelessness. Jane Austen knew her worth, even when society refused to acknowledge it. She found joy in writing, even when the act had to be hidden away at the sound of footsteps. And she used her pen as both mirror and weapon: to observe the world around her, and to laugh at its absurdities.

For all of us who read and write today, Austen’s words remain an inspiration: to write with honesty, with courage, and — above all — with pleasure.

If you’d like to read the original Italian article that inspired this post, you can find it here:

👉 10 frasi di Jane Austen sulla scrittura che ispirano ogni penna creativa – Libreriamo

WHY DO MANSFIELD PARK AND NORTHANGER ABBEY SO RARELY GET ADAPTED?

2025-09-13T08:04:00.002+02:00

Jonny Lee-Miller and Frances O'Connor in Mansfield Park 1999

As Jane Austen fans, we are never short of new adaptations to enjoy. Pride and Prejudice, Sense and Sensibility, Emma, and Persuasion have each had numerous film and television versions—sometimes several within a single decade. Austen’s wit, her timeless themes of love, class, and social ambition, and her cast of unforgettable characters continue to capture audiences worldwide.

But as Amy Wilcockson (University of Glasgow) points out in a recent article for The Conversation, there are two Austen novels that remain strikingly underrepresented on screen: Mansfield Park and Northanger Abbey. Together they make up a full third of Austen’s published works, yet filmmakers tend to leave them aside. Why?

Northanger Abbey: a Gothic satire waiting for its spotlight

J.J. Feild and Felicity Jones in Northanger Abbey 2007

Written in 1798–99 but not published until after Austen’s death, Northanger Abbey is Austen at her most playful. It parodies the Gothic romances that captivated readers of the time, but it also critiques the harsh realities of marriage, wealth, and women’s social status. Catherine Morland may be naïve, but her mistaken suspicions about General Tilney’s murderous tendencies highlight just how unsafe and precarious life could be for young women without financial security.

Yet, despite this rich material, we have only two television versions (1987 and 2007)—and never a major feature film. As Wilcockson asks, isn’t it a travesty that Northanger Abbey has never had its cinematic moment?

Mansfield Park: Austen’s most serious work

Blake Ritson and Billie Piper in Mansfield Park 2007

Mansfield Park (1814) may be Austen’s most controversial novel. With its themes of infidelity, gambling, and above all the shadow of slavery—embodied in Sir Thomas Bertram’s Antigua plantation—it tackles issues that reach far beyond ballrooms and marriage plots.

Fanny Price, often criticized as a “quiet” heroine, asks the central question: when she inquires about the slave trade, her uncle ignores her. This silence speaks volumes. Scholars have linked the novel’s title to Lord Mansfield, a judge whose rulings shaped the abolition debate in Britain. Austen’s own family connections to anti-slavery activism further underscore that she was deeply aware of these issues.

Perhaps it is precisely this weightier subject matter that has made filmmakers hesitate. But avoiding these themes leaves a gap in how we understand Austen—not merely as the creator of charming romances, but as a keen observer of power, politics, and empire.

Why it matters

By continually revisiting Pride and Prejudice or Emma, adaptations risk flattening Austen’s legacy into a series of witty romantic comedies. Mansfield Park and Northanger Abbey, however, remind us that Austen’s work spans satire, social critique, and engagement with pressing moral debates of her day.

Imagine what a director like Greta Gerwig could do with the Gothic humor of Northanger Abbey, or how a filmmaker unafraid to confront history might handle the moral complexities of Mansfield Park. These novels deserve their moment on screen—not only for faithful readers, but also for new audiences who might discover just how multifaceted Austen really was.

Questions for reflection and discussion

Why do you think filmmakers have hesitated to adapt Mansfield Park and Northanger Abbey?
How might a modern adaptation highlight the social critiques in these novels while still engaging today’s audiences?
Do you think Catherine Morland and Fanny Price are less “screen-friendly” heroines compared to Elizabeth Bennet or Emma Woodhouse? Why or why not?
If you could choose a director for a new adaptation of either novel, who would it be and why?
Should adaptations stay faithful to Austen’s plots, or would you welcome more experimental versions (as with the 2022 Persuasion)?

PRIDE AND PREJUDICE COMES TO LIFE IN A NEW AUDIBLE ORIGINAL

2025-09-11T13:43:00.003+02:00

Jane Austen’s Pride and Prejudice has charmed readers for over 200 years — but now, for the very first time, it arrives as an Audible Original audiobook with a star-studded cast.

The English edition has just been released worldwide, with versions in Castilian Spanish, French, German, Italian, and Brazilian Portuguese on the way — proof that Austen’s wit and romance continue to speak across languages and cultures.

Behind the scenes: meet the cast

One of the joys of this production is its theatrical quality. The full-cast approach gives Elizabeth Bennet’s wit, Darcy’s reserve, and even Mr Collins’s pompous speeches a fresh energy that feels like watching the novel unfold on stage.

Here’s a behind-the-scenes look with interviews from the cast

Why this audiobook matters

Immersive Storytelling: Instead of a single narrator, you hear the novel come alive through multiple voices.
Global Reach: With editions in five additional languages, Austen’s sharp social commentary and timeless romance are more accessible than ever.
A New Way to Experience a Classic: Even longtime readers may discover fresh humor and emotion when Austen’s dialogue is performed aloud.

Meet the Cast of Audible’s Pride and Prejudice

If Jane Austen herself were to cast a grand stage production of her most beloved novel, she might have chosen exactly this dazzling lineup. From Oscar nominees to BAFTA winners, from rising stars to legendary icons, this Audible Original brings together some of today’s most talented actors — each perfectly suited to breathe fresh life into Austen’s timeless characters

🎙️ Marisa Abela (Elizabeth Bennet)

Known for HBO’s Industry and her role as Amy Winehouse in Back to Black, Marisa Abela brings wit, intelligence, and resilience to Elizabeth. Fun fact: she once said she loves roles where women push back against expectations — a perfect fit for Lizzy Bennet!

🎙️ Harris Dickinson (Mr. Darcy)

BAFTA-nominated for Beach Rats and widely praised for The Iron Claw, Dickinson plays Darcy with quiet intensity. Though new to Austen, his talent for complex, restrained roles makes him a fascinating match for Darcy’s brooding reserve.

🎙️ Glenn Close (Lady Catherine de Bourgh)

Yes — the legendary Glenn Close! With eight Academy Award nominations, she adds gravitas (and just the right level of imperiousness) to Lady Catherine. Fun fact: she has often played formidable women who command every room — Lady Catherine will be no exception.

🎙️ Bill Nighy (Mr. Bennet)

Beloved for Love Actually and The Best Exotic Marigold Hotel, Nighy’s dry wit makes him a natural Mr. Bennet. Austen fans will remember he already starred in an Austen-inspired film, Emma. (2020), as Mr. Woodhouse.

🎙️ Marianne Jean-Baptiste (Mrs. Bennet)

Oscar-nominated for Secrets & Lies, Jean-Baptiste brings energy and sharpness to Mrs. Bennet’s anxious matchmaking. With her stage background, she balances humor and depth beautifully.

🎙️ Jessie Buckley (Caroline Bingley)

A BAFTA winner and Oscar nominee (The Lost Daughter), Buckley excels at complex, layered roles. Here she lends Caroline’s sharp edges both glamour and bite. Fun fact: she’s also a talented singer — perhaps lending extra musicality to Austen’s world.

🎙️ Toheeb Jimoh (Mr. Bingley)

Best known as Sam Obisanya in Ted Lasso, Jimoh’s warmth and charm make him a perfect Bingley. Like Bingley, he radiates kindness and optimism — and fans are already excited to hear his take.

🎙️ Bertie Carvel (Mr. Collins)

An Olivier Award-winning stage actor (Matilda the Musical), Carvel is brilliant at capturing both pomposity and vulnerability. Expect his Mr. Collins to be equal parts funny and excruciating.

🎙️ Leah Harvey (Charlotte Lucas)

Praised for her role in Foundation (Apple TV+), Harvey brings strength and nuance to Charlotte. Many readers sympathize with Charlotte’s pragmatic choice to marry Collins — Harvey’s grounded presence will make it resonate even more.

🎙️ Sophie Wilde (Jane Bennet)

A rising star from Netflix’s Everything Now and Talk to Me, Wilde plays Jane with warmth and sensitivity. Like Austen’s Jane, she has a quiet strength that contrasts beautifully with Lizzy’s boldness.

Ready to Listen?

Start your journey with Elizabeth, Darcy, and the entire Bennet family in a way you’ve never heard before.

Link to Audible audiobook

What do you think, dear readers? Does hearing Pride and Prejudice performed with a full cast make you curious to revisit the story? Or do you prefer the intimacy of reading Austen’s words on the page?

Let’s discuss in the comments — and happy listening!

RETHINKING MR DARCY: IS HE REALLY THE ROMANTIC HERO WE LOVE?

2025-09-10T11:33:00.001+02:00

Sebastian Faulks, in an essay marking Jane Austen’s 250th anniversary, offers a provocative re-reading of Pride and Prejudice — one that may challenge even the most ardent Mr Darcy admirers.

Faulks paints Darcy in stark terms: “mostly miserable” and, at times, “unforgivably cruel.” While modern adaptations have polished him into a brooding heartthrob, Austen’s own text is far more complicated. Faulks argues that Darcy is arrogant, socially tone-deaf, and even manipulative — especially in his treatment of Jane and Bingley. His famed proposal to Elizabeth, which many read as romantic tension, is framed by Faulks as a shocking display of class-conscious cruelty.

Moreover, Faulks interprets Darcy as melancholic, perhaps even clinically depressed, dependent on Bingley for the energy he himself lacks. His intelligence and wit, so often celebrated, appear minimal in Faulks’s reading — instead, he is inconsistent, distant, and morally flawed.

This interpretation extends to Elizabeth as well. Faulks questions whether she truly “loves” Darcy or whether their eventual marriage is a pragmatic arrangement: she brings vitality and wit; he brings stability and social standing. In his view, Elizabeth’s attraction is colored by embarrassment, shame, and a sense of social duty — raising the provocative question: is their love as deep and romantic as we’ve long believed, or is it a complex partnership born of circumstance?

Yet, as compelling as Faulks’s reading is, it also invites debate. Can we reduce Darcy to cruelty and melancholy, or does Austen’s subtle narrative invite a more balanced understanding? Is Elizabeth’s love pragmatic, or is it a nuanced recognition of Darcy’s better qualities emerging through personal growth?

Discussion Prompts for Our Book Club

· Do you agree with Faulks that Darcy is cruel or morally flawed?

· How does viewing Darcy as melancholic or depressed change your reading of his actions?

· Is their marriage truly romantic, or more of a practical partnership?

· How do film and TV adaptations shape our perception of Darcy compared with Austen’s text?

· Does questioning Darcy enhance or diminish your appreciation of the novel?

Read Faulks’s full essay here: BBC Culture – Why readers are wrong about Mr Darcy

Let’s explore this challenging perspective together — it may change the way you see one of literature’s most famous romantic heroes.

AUSTEN & THE ART OF THE SELF: IS ELIZABETH BENNET A MODEL OF SELF-LOVE?

2025-09-09T08:00:00.008+02:00

This is the second in our ongoing series: “Austen & the Art of Self” – Exploring the self-help wisdom hidden in Jane Austen’s heroines. Read our previous post: Is Emma Woodhouse a Model of Self-Love?

Elizabeth as a Model of Self-Love

Of all Jane Austen’s heroines, Elizabeth Bennet may be the most beloved—and with good reason. Spirited, witty, and fiercely independent, Lizzy walks through Pride and Prejudice with a confidence that feels strikingly modern. She refuses to marry for convenience, she values integrity over wealth, and she’s unafraid to speak her mind, even to a man like Mr. Darcy. But beneath her quick tongue and clever observations lies something deeper: a strong and evolving sense of self-worth.

Unlike more passive heroines, Lizzy makes active choices—some right, some wrong—but always in alignment with her own sense of identity. Her refusal to bend to societal pressures, her defense of her family (flaws and all), and her eventual recognition of her own prejudices make her a compelling study in emotional growth. In this post, we explore how Elizabeth Bennet—through pride, principle, and a willingness to change—stands as a quietly powerful example of self-love rooted in personal integrity and self-respect.

Elizabeth Bennet Through a Self-Help Lens

In today’s world of affirmations, boundary-setting, and emotional awareness, Elizabeth Bennet feels like a heroine ahead of her time. While her self-assurance might appear natural, it’s actually the result of a complex inner life: a blend of instinct, conviction, and introspection. Unlike Emma Woodhouse, who learns to curb her control tendencies, Lizzy must confront her assumptions and open herself to change—all without compromising her values.

Through the lens of modern self-help, Elizabeth’s journey reveals itself as a model of authenticity, humility, and discernment. She shows us how to trust ourselves, how to speak truth with grace, and how to recognize when growth means letting go of pride, not dignity. Let’s take a closer look at how her arc embodies key lessons from contemporary self-development philosophy.

1. Trusting Her Intuition (Even When It’s Flawed)

Lizzy listens to herself—even when she gets it wrong. Her initial rejection of Darcy and defense of Wickham may be based on imperfect judgment, but her instincts are emotionally honest. She doesn’t silence her discomfort to please others, and when she realizes her error, she does something rare: she owns it.

Self-help parallel: Self-love isn’t about being infallible—it’s about having the courage to trust yourself, reflect honestly, and course-correct with grace.

2. Saying No to What Doesn’t Align

Elizabeth’s rejection of Mr. Collins is iconic—not just because it’s comically awkward, but because it’s deeply empowering. She refuses a proposal that would provide financial security but strip her of happiness and self-respect. She does the same with Darcy—at least the first time—because he hasn’t earned her “yes.”

Self-help parallel: Lizzy models clear boundaries and the belief that self-respect is non-negotiable, even when the stakes are high.

3. Speaking Her Mind with Courage

From witty banter to brutal honesty, Elizabeth uses her voice unapologetically. Whether challenging Darcy, calling out Lady Catherine, or defending Jane, she stays firm in her convictions—without being cruel.

Self-help parallel: Speaking your truth doesn’t mean being confrontational—it means being authentic, even when others disapprove.

4. Growth Through Humility

Lizzy’s pride is part of her charm—but she doesn’t let it keep her from growing. When faced with Darcy’s letter, she feels the sting of her misjudgments and uses that insight to change. There’s no defensiveness, no ego battle—just genuine humility and transformation.

Self-help parallel: Self-love includes humbling yourself without shaming yourself—a vital step in personal growth.

Final Thought: A Different Kind of Self-Love

Elizabeth’s self-love is not about declaring her greatness—it’s about knowing her worth, even when she doubts others or herself. She balances pride with reflection, boundaries with openness, and principle with growth. In a modern world of empowerment quotes and self-worth mantras, Lizzy shows us that sometimes the strongest form of self-love is simply refusing to betray your own heart—and letting yourself change when you’re ready.

A BIRTHDAY GIFT FOR AGES: THE COMPLETE NOVELS BY JANE AUSTEN BY THE FOLIO SOCIETY

2025-09-08T09:00:00.001+02:00

The Complete Novels by Jane Austen, The Folio Society

A collector’s dream for Austen devotees

Jane Austen’s novels have enchanted readers for more than two centuries, and in 2025 her 250th anniversary is being marked with something truly extraordinary. The Folio Society has created a six-volume limited edition box set of The Complete Novels—a landmark in bookmaking, with only 750 copies available worldwide.

To celebrate this remarkable release, I had the chance to speak with the creative team behind the edition—James Rose (Head of Editorial), Kate Grimwade (Production Director), illustrator Sarah Young, and box designer Emily Benton. In this special Q&A, they share insights into the artistry, craft, and inspiration that went into bringing Austen’s timeless works to life in such a beautiful form.

James Rose: Shaping Austen’s Legacy, An Editorial Vision

James Rose is Head of Editorial and has been at Folio for over a decade. He has worked on both fiction and non-fiction titles and now heads the limited editions program. He previously worked at Macmillan and Faber and Faber and is committed to independent publishing and creating beautiful books.

Why was this year, Austen’s 250th anniversary, the perfect moment to create such an ambitious limited edition?

Folio has published Austen before, and we already had core editions in our backlist, but I had long wanted to make a really celebratory edition. The anniversary was, of course, the perfect excuse to honour Austen as one of the greatest writers of the English language. Her works are timeless, so we had to create an edition that would remain equally enduring.

How did you decide on the contributor line-up—Lucy Worsley, Elena Ferrante, Val McDermid, Siri Hustvedt, and others?

Many of the introductions were specific to each title, so I felt we needed one overarching piece that would bring all six novels together and cover Austen’s whole oeuvre. As such, I turned to historian Lucy Worsley, whose work championing Austen is rightly famed and who has delivered a wonderful Foreword that looks at the life and legacy of Austen. It really does pull the whole package together.

Did you consult or reference first-edition texts or archival materials while preparing these volumes?

Yes. When we started on the project, the initial book team went to the British Library to look at the original first editions of all six novels. It was a great treat not only to see the books but also to handle them, feel them, and examine them. We took detailed notes on their construction and layout, even the feel of the paper used.

What do you hope long-time Austen fans—and perhaps new readers—will experience when they encounter this edition?

I very much hope that whoever encounters this edition finds it both reassuringly Austen but also contemporary. Sarah’s art brilliantly complements the text—restrained, witty and beautiful. It truly is an edition to be cherished.

Kate Grimwade - Crafting Perfection: The Art of Bookmaking

Kate Grimwade is Production Director and has worked at Folio for over 26 years. Kate sees her role as setting the standard and striving for excellence in modern fine book production, working with designers and bookbinders to push the boundaries, using innovative design and cutting-edge production technology. Kate is passionate about embracing traditional craft bookbinding techniques and Folio’s responsibility in supporting these artisan skills.

This set combines traditional craft with extraordinary luxury—from gilded edges to woven silk. Which aspect of the design or production process did you find most exciting to work on?

Watching Sarah Young’s artwork emerge from the initial sketches she showed us was really fascinating. Working with wood or lino to create such delicate artwork is a sort of miracle to me—it is such an extraordinary skill—and Sarah has achieved something magical with her art. Equal to this was the excitement of seeing Sarah’s beautiful watercolour cover design as it was transported to woven silk and cotton – from a delicate design on paper, through an industrial process resulting into the most beautiful cloth. You can’t get more exciting than that!

Could you share more about the collaboration with Stephen Walters?

Folio has worked with Stephen Walters before and it is an extraordinary business, taking a pride in their weaving that equals the pride Folio takes in its book production. I worked closely with Beth Humes who was of enormous help to us in the selection of silks. It was important to us that the choice of silk colour reflected each individual novel but of course all those silks needed to harmonise as a set. Our discussions led us to choose cotton and silk as opposed to linen and silk as we felt cotton was truer to Jane Austen, to what she would have worn. We went through several trials to perfect the balance of colours across each volume.

What was the most complex or satisfying detail to bring to life—whether technical (like gilding) or artistic (like the custom monogram)?

The gilding of the books is beautiful, but it is also subtle and “quiet.” It would have been wrong to choose a shiny gold. It was so interesting to commission a monogram to be woven into the cloth, a first for Folio. We were reluctant to interfere with the weaving pattern by blocking the title onto the book spine and so the monogram worked so well, subtly naming each novel. Smith Settle worked so carefully to cut and line the cloth and then make each cover. It took huge skill to ensure that all the monograms lined up on the spine.

Folio editions are often designed to last generations. What materials or processes make this set especially enduring?

Folio is proud to be able to say that all our books are printed on acid-free paper and are sewn, a luxury that is standard to Folio and ensures that the text paper remains beautiful and that the book opens flat and retains its shape and structure. In addition to the cloth covers and the hand-binding—both of which guarantee each novel is of the highest quality—the novels are presented in an elegant box, which is covered in cloth screen-printed in gold, ensuring the novels are presented beautifully but also protected.

What was your personal reaction when you first saw the final boxed set completed?

I was thrilled! With every project we work on, but particularly with a project of this size and complexity, there are many stages along the way where you have a glimpse of what is to come, but to see the project come to fruition has been so rewarding. I am so grateful to all those craftspeople who have worked with us to produce this magnificent set.

The Complete Novels by Jane Austen, The Folio Society

Sarah Young - Folklore Meets Austen: An Artist’s Perspective

Sarah Young is a painter, printmaker, and illustrator. She is also the maker and originator, with Jon Tutton, of a traveling puppet theater. Her work is often narrative, drawing on folktales, myths, and fairytales, and has been shown in galleries throughout the UK, from the Shetland Islands to Cornwall. As an illustrator, she has most recently worked on book covers for Stephen Fry’s Mythos series, Pat Barker’s Trojan War novels, and The Complete Works of Shakespeare for Oxford University Press. Tutton and Young organize contemporary art and craft events, including Made London and the Brighton Art Fair, and run Atelier Beside the Sea—an art gallery, shop, and creative teaching space in Brighton.

Your illustrations have a folkloric quality. How did you merge this style with Austen’s refined social world?

I think that’s a lovely compliment, and a lot of my work is directly about or is influenced by folklore, legend, and myth. Although I work in many ways, I was asked to do the illustrations for Jane Austen’s novels as woodcuts and linocuts. I think that those methods might have become shorthand for a folkloric quality. If they do come across that way, hopefully it’s an interesting combination.

Which novel or character inspired your favourite illustration in this collection, and why?

I’m afraid I don’t have a favourite illustration, but looking back at them now, I like: Lucy and Elinor looking at the locket in Sense and Sensibility; Edmund and Mary Crawford on horseback in Mansfield Park; and the Box Hill picnic scene in Emma. There must be something about the composition that draws me to these illustrations. Or nostalgic reasons—Box Hill walks?

Illustrations © Sarah Young 2025, from The Complete Novels by Jane Austen, The Folio Society - Sense and Sensibility, Mansfield Park, Emma

Can you share your process?

As the illustration must be approved before I make the print, there’s no room for happenstance as I cut. A detailed rough is reversed onto the wood or lino. Both are relief printmaking techniques, so I take away wood or lino in various ways—mostly knives and gouges, but also anything that can make an impression—and those areas won’t print. What remains prints. Ink is mixed and then the blocks are inked up with a roller. Paper is placed on top, then blankets. Then, they are then run through my big manual etching press.

What do you hope readers notice or feel when they see your artwork alongside Austen’s words?

I didn’t want the illustrations to be either too explanatory or just decorative. I didn’t want them to be too distracting either, but I would like them to be enjoyed!

Emily Benton (Box Designer) Designing a Home for Austen’s Novels

Emily Benton is an award-winning book designer based in Edinburgh, recognized for her tactile, minimalist approach to publication design, typesetting and print production. She holds an MA in Book Design from Reading University’s internationally acclaimed Typography department and has developed her expertise through projects for leading cultural and publishing organizations. Her client portfolio includes Chanel, Boots, Edinburgh University Press, Macmillan Cancer Research, MIT, Saatchi Gallery and The Folio Society. Emily’s work has been honored by the New York Times Best Art Books and by the British Book Design & Production Awards. Alongside her studio practice, she lectures at Edinburgh Napier University.

The box design is almost a work of art itself. What was your starting point for envisioning a case that would honour all six novels?

My starting point was Sarah Young's beautiful illustrations that appear throughout the book covers and interiors. I wanted to create a design that would celebrate her artwork while establishing a visual dialogue between the box and the books themselves. The challenge was translating the intricate detail of Sarah's illustrations into something that would work to transfer onto cloth, so I focused on capturing the essential shapes and forms that would create a cohesive, repeating pattern across the lid.

Are there hidden details or visual Easter eggs in the box design that Austen fans might enjoy discovering?

The oval shapes that frame each book's title initials are subtly echoed in the box design, creating a quiet conversation between container and contents that becomes satisfying once you've notice it. There's also a lovely detail in how the gold on the box complements the gold edge-painting that adorns each book's head edge. I hope it's these kinds of connections that reward closer inspection by Austen enthusiasts.

What was your approach to balancing beauty, durability, and function in a case that must hold six heavy volumes?

Function drove several key decisions. The completely removable lid, rather than a hinged design, provides structural integrity for the six volumes while allowing the books to be accessed without strain on the construction. For materials, we chose a sage green linen cloth of exceptional quality, with the specific shade drawn from the Mansfield Park cover cloth. This material is both beautiful and built to last, and the tranquil colour complements the gold beautifully. The diagonal base/lid construction ensures the spine designs are displayed to their fullest once the top is lifted away.

When you look at the finished set, what detail makes you proudest?

I'm proudest of that moment of discovery when someone lifts the lid. The transition from the rich, celebratory pattern on top to the serene simplicity of the base, featuring only “Jane Austen”, creates a perfect stage for the books themselves. It shows restraint; knowing when to step back and let Sarah Young's spine illustrations be the stars. The quieter base design gives your eye a proper chance to focus on those beautiful covers in their fullest, most detailed form.

Hearing directly from the people who shaped this edition shows just how much care, vision, and passion went into honoring Jane Austen’s legacy. For devoted Janeites and collectors alike, this Folio Society set is not only a treasure for today but also an heirloom for generations to come.

👉 The Complete Novels by Jane Austen will be available from The Folio Society on September 9, 2025—a date I won’t forget, as it also happens to be my birthday!

More details and ordering information: www.foliosociety.com

JAYNE BAMBER, THE COUNTESS AND HER SISTER: A NEW PRIDE & PREJUDICE VARIATION

2025-08-30T09:30:00.002+02:00

Today on My Jane Austen Book Club, I’m delighted to welcome back Jayne Bamber to share a playful sneak peek at her latest Pride & Prejudice variation, The Countess and Her Sister. She has given us a list of “Ten Things to Know” about this new release—and trust me, it’s a delightful mix of humor, drama, and romance. After that, you’ll find a special excerpt and the full blurb to tempt you further!

Ten Things to Know About “The Countess and Her Sister”

1. Lady Rebecca Fitzwilliam, the sister I invented for Colonel Fitzwilliam in my debut novel Happier is back, and sassier than ever!

2. After widespread illness kills Jane’s horrible husband, Mr. Bennet, and many others, Elizabeth resides in London with Jane and her in-laws.

3. The mischievous Fitzwilliam siblings enjoy pranks, public debauchery, and playful wagers.

4. About halfway through the book, Lady Catherine does something so evil butso hilarious – I can’t believe it took me 15 novels to think of it!

5. I snuck in a Monty Python reference, and I’m not the least bit sorry.

6. Lady Susan Vernon slaps one of the Bennet sisters (and not the one you

think!)

7. Jane Bennet has depth, agency, and an angsty growth/healing arc that shines as much as the Darcy & Lizzy love story.

8. Mr. Bingley is desperate to prove himself worthy, though at one point he gets a little too carried away.

9. Mrs. Bennet has a way of making Elizabeth go feral with rage (and rightly so!)

10. With a swoon-worthy Darcy and a smitten Elizabeth, there are lots of sweet smooches in this book – but nothing spicier.

***

Read an excerpt

When Elizabeth looked over at her sister, she could see that Jane had gone pale, the joy she had radiated all day now drained from her face. She cast Elizabeth a look of silent pleading. “Surely Jane need not marry again if she does not wish it,” Elizabeth said to the dowager countess.

Lady Augusta shook her head. “Poor Richard cannot manage Thomas’s affairs forever!” Her son grimaced. “Poor Richard was glad to give up his constant peril in the army and live a life of ease looking after the little earl’s holdings. I should rather remain in the service of a child than sell myself to the highest bidder amongst the debutantes.”

“Oh, I think you are a little old for a debutante,” his mother sniffed. Jane plaintively pressed her lips together; Elizabeth could well imagine what her sister was thinking. After all the torment she had endured at the hands of the man forced upon her by the rapacious Mrs. Bennet, Jane wished never to marry again – certainly not without the deepest love, respect, and above all, trust.

Lady Augusta, for all her imperiousness, was fond of her children, her stepdaughter-in-law, and even Elizabeth, whom she had come to consider one of her own brood. And she had known what her stepson was, what Jane had suffered.

She patted Jane’s cheek tenderly. “I have a good man in mind for you, my dear.” Richard groaned. “I can guess who you mean, and he will not accede to your wishes so easily, Mamma. He has never capitulated to Lady Catherine.”

“Pish! That is because that ghastly woman resides entirely in a realm of her own delusion, and nobody would have her insipid daughter! But our Jane is the loveliest, dearest creature in the world. And he ought to wed before it is time for his sister to enter society. I think them eminently suited in disposition. Look, even Rebecca agrees with me.”

Rebecca could not conceal her hilarity, which was often the case. “Forgive me, Mamma – I smile because I think it preposterous! Darcy is duller than dirt!” Richard snorted with laughter. “You only say that because he would not have you the season you came out.”

“I would not have him – or any man! I hope you will excuse me from any matrimonial schemes, Mamma. You know I must end a spinster and keep you company in your dotage.”

“Say dotage again, Rebecca, and I shall reconsider my leniency toward your determination to drive men away as if it were your vocation.” Lady Augusta lifted her gaze heavenward and gave a long-suffering sigh, though she could not hide her bemusement; she loved to vex ‘her young people.’

“It is my great calling,” Rebecca drawled. “And I cannot like your notion of matchmaking for poor Jane. You may throw Richard to the dogs – by which I mean the women he fancies – but cannot Jane simply re-enter society and make merry, and only wed if and when she meets a man she likes?”

Elizabeth and Jane each gave the woman they called sister a look of gratitude. If they were to rejoin the first circles their relations belonged to, they could depend upon Lady Rebecca as their staunchest defender.

“Certainly not! She is far too inexperienced – forgive me, my dear, but it is the truth. Every fortune hunter in London will be queuing to woo her – it is not to be borne! And is such a one to be a father to my grandson, to shape the character of the young Earl of Matlock? Are the shades of Matlock to be thus polluted? No indeed! Our fortune, our country seat in Derbyshire, our very family reputation must be considered – and protected. Darcy is an imposing fellow, and he will do the job creditably. No grasping, artful puppy would dare work any mischief on Jane with Darcy at her side. And would they not make a handsome couple?”

Jane fidgeted with her hands before looking up at the dowager countess. “You refer to Robert’s cousin, Mr. Darcy of Pemberley?”

“I suppose you never met him – he and Robert did not always get along,” the dowager mused with a forlorn sigh.

“Proof of his goodness, I shall grant you,” Richard quipped. “He and I have always been close, though he seldom comes to London. I can vouch for his good character, though I wish no further involvement in the scheme. Darcy does not like being managed.”

“Perhaps that is why he has not taken a wife already,” Elizabeth said archly. “If he is so grand and handsome, as you say, Lady Augusta, there must be some reason he is single. Pray, what sort of man is he?”

“Silent, brooding, and perpetually displeased,” Rebecca huffed. “He does not like dancing or cards, protested every scheme of mischief in our youth, and never speaks unless he can say something that will amaze the whole room.”

Jane looked stricken for a moment, but offered Lady Augusta a serene smile. “You must think well of him, or you would not make a match between us.”

“He is guarded and cautious, both desirable qualities in my estimation, but amongst intimate acquaintance he can be pleasing when he wishes it. He is exceedingly intelligent and makes an excellent master of Pemberley, which is a grander estate even than Matlock. His sister Georgiana must be sixteen now, I think.

I recall she was always a timid little thing, but he is ever so patient with her. He will not mind your reserve, dearest.”

Elizabeth could see her sister’s hesitance. “But what are his tastes, his occupations? What are his passions and pursuits?”

Lady Augusta looked flummoxed. “Well! Jane is very welcome to ask him, Miss Lizzy! I am only suggesting that she become acquainted with him, after all. And perhaps he may have a fine friend for you, but I beg you would not pester him with your impertinence.”

“You must leave that to me,” Rebecca said flatly. “He will have no patience to spare for you, when I shall be straining the entirety of his forbearance.”

“I am sure you shall, my heart,” Lady Augusta sighed, looking ready to throw up her hands in defeat.

“I am far too beholden to you to be half as difficult as I may wish to be,” Elizabeth told the dowager with a waggle of her eyebrows. “And if Jane likes him, I shall be your fiercest ally in uniting them. If he has a handsome friend for me, I am sure I shall never give you the slightest trouble ever again.”

About the Book

Elizabeth Bennet enters London society at the side of her favorite sister, a widowed countess….

Elizabeth Bennet and her sister have resided at Matlock House in London with Jane’s in-laws for two years, deepening their familial bond with Lady Augusta - the mother Mrs. Bennet never was - and her mischievous children, Richard and Lady Rebecca. And now, it is time for the eligible countess and her lively, devoted sister to re-emerge in London society….

Lady Augusta is set on finding Jane a husband, and she has selected her favorite nephew, Fitzwilliam Darcy. Things hit a snag when Mr. Darcy unwittingly insults Elizabeth, and Lady Augusta’s plans are utterly dashed when Mr. Darcy realizes that Elizabeth Bennet is the only woman in the world who could ever tempt him.

Elizabeth and Mr. Darcy both face a battle between their sense of family duty and their irrepressible attraction to one another. Tensions rise when Mr. Bingley begins courting Jane Fitzwilliam; when Lady Catherine arrives in London, she makes her own sentiments known, and Elizabeth is swept up in the chaos that ensues.

Elizabeth and Jane make a hasty retreat to Derbyshire along with their friends & family. Springtime in the countryside has both Mr. Darcy and Mr. Bingley ready to woo their ladies, but old resentments fan the flames of family pressure, and the lovers are driven to drastic action. How far will Elizabeth Bennet go for love?

A SUMMER WITH JANE: PAULA BYRNE ON SIX WEEKS BY THE SEA

2025-08-04T09:00:00.002+02:00

by Maria Grazia, My Jane Austen Book Club

It is a real pleasure to welcome acclaimed biographer, novelist and Austen scholar Paula Byrne to our blog today. Paula is the author of numerous bestselling works, including Belle: The Slave Daughter and the Lord Chief Justice, The Real Jane Austen, The Genius of Jane Austen, and Mad World: Evelyn Waugh and the Secrets of Brideshead, and she is widely respected for the depth, elegance, and originality of her work including biographies, literature, and history.

Her latest novel, Six Weeks by the Sea, offers a compelling blend of historical insight and imaginative storytelling. Set during the summer of 1801, the book follows a young Jane Austen during a six-week holiday in Sidmouth, where she becomes entangled in a quietly dramatic love triangle—with both a dashing Royal Navy captain and a thoughtful, abolitionist lawyer vying for her heart. Drawing on known facts and rich period detail, Paula creates a vivid world of family ties, social pressures, and romantic possibility—all with her signature grace and intelligence.

In the conversation that follows, Paula speaks about the inspiration behind the novel, the real history that underpins her story and how she approached writing about our beloved—and still mysterious—Jane Austen.

I hope you enjoy this conversation as much as I did.

⸻ ✧ ✧ ✧ ⸻

Paula, thank you so much for taking the time to answer my questions. It’s a real pleasure to feature you and your beautiful new novel at My Jane Austen Book Club. Six Weeks by the Sea imagines a pivotal summer in Jane Austen’s life. What inspired you to explore this particular moment in her biography, and how much is based on historical evidence versus imaginative reconstruction?

The novel is indeed grounded in a real-life event from Jane Austen’s biography—the summer of 1801, when she is believed to have met a mysterious stranger during a seaside holiday. According to family accounts, they fell in love, and he was considered by her family to be a gentleman truly worthy of her. However, the historical record offers very little detail beyond that poignant glimpse. It’s precisely this combination of emotional truth and historical mystery that drew me to the moment. While the novel is anchored in that real encounter, much of the story is necessarily imagined—an attempt to fill in the emotional and narrative gaps with plausible, empathetic fiction. It was both a challenge and a joy to reimagine what might have happened during those six weeks by the sea.

The novel blends real historical figures—like Jane Austen and her family—with fictionalized relationships and events. How did you weave together fact and fiction in writing this story?

Although I drew on my knowledge of Jane Austen and her family—particularly her brother Frank and her beloved sister Cassandra—I also created fictional characters to enrich the narrative. Captain Peter Parker, for instance, is an invented figure who serves as a foil to Austen’s real romantic interest. I also imagined a young girl of mixed race, who becomes a significant and moving presence in the story. While I aimed to remain as historically accurate as possible, especially in portraying the world Jane inhabited, I also relished the creative freedom to invent characters and scenes—balls, garden parties, beach outings—that brought the period vividly to life.

The inclusion of Samuel Rose, a lawyer and abolitionist, adds rich historical and thematic texture. What drew you to choose him as a potential romantic interest for Jane?

Samuel Rose was a real historical figure—the kind of cultured, thoughtful gentleman I imagined Jane Austen might have genuinely been drawn to. By all accounts, he embodied many of the qualities she admired: he was amiable, intelligent, and handsome, with a strong moral compass as an abolitionist. He also shared her literary sensibilities, being an admirer of William Cowper, the poet she held so dear. In many ways, he seemed an ideal match—not only in temperament and values, but in the deeper emotional and intellectual affinities that Jane so clearly cherished.

Jane Austen’s family dynamics are central to the novel. What new insights did you hope to bring to readers’ understanding of the Austen family?

I wanted to shine a light on the deep emotional ties within the Austen family, especially the relationships that shaped Jane’s inner world. In particular, I focused on her beloved brother Frank, who was close to her in age and spirit. They shared a strong bond, and I believe echoes of Frank can be found in the character of William Price in Mansfield Park. I also gave special attention to Jane’s relationship with her sister Cassandra, which was perhaps the most profound and enduring of her life. Their closeness, their mutual support, and the quiet intimacy of sisterhood were central to the emotional landscape of the novel.

You explore issues of war, colonial politics, and abolition—weighty subjects that are often only lightly touched upon in Austen’s own novels. What role did you want these themes to play in your story?

Although issues like war, colonial politics, and abolition are touched on only subtly in Austen’s novels, they were nevertheless deeply significant in her life and worldview. Jane was strongly pro-abolition—she admired figures like Thomas Clarkson—and the character of Miss Lambe in Sanditon, a wealthy biracial woman, reveals her awareness of race, class, and empire. I also wanted to reflect the profound impact of having two beloved brothers serving in the Royal Navy during the French and Napoleonic Wars. These experiences shaped her perspective, and by weaving these themes more fully into the novel, I hoped to honour both the wider world she lived in and the quiet moral clarity that runs through her writing.

As a renowned Austen scholar, how did writing a work of fiction about her differ from your previous biographical or critical work? Did anything about the process surprise you?

What a wonderful question. Writing fiction about Jane Austen was both a thrilling and daunting departure from my usual biographical and critical work. While the novel still required extensive research to ensure historical accuracy, the creative process was entirely different. I was genuinely terrified at the prospect of stepping into Jane’s shoes—trying to capture even a fraction of her wit, brilliance, and emotional depth. Portraying her as a character, especially in a moment of romantic awakening, was a delicate task. I tried not to overthink it—just to imagine how she might have felt meeting the love of her life in that idyllic seaside setting. It was an enormous challenge, but also a joyful and liberating one.

Your portrayal of Jane feels deeply human—curious, conflicted, romantic. How did you approach giving voice and interiority to someone as iconic and enigmatic as Austen?

That’s such a kind observation—thank you. Giving voice to someone as iconic and elusive as Jane Austen was truly daunting. I drew on over 25 years of writing, teaching, and thinking deeply about her work and life. I immersed myself in her letters, her novels, and also the books she loved—the literature that helped shape her voice and imagination. My aim was to honour her wit, sensitivity, and complexity, while also allowing space for emotional vulnerability. Ultimately, I tried to listen closely to her world and let that guide how I imagined her inner life.

⸻ ✧ ✧ ✧ ⸻

About the Book

Summer 1801. Sidmouth, England.

The Austen Family descends upon a fashionable Georgian seaside resort in Devonshire for a six-week holiday. Jane's brother, Frank, is on leave from the Royal Navy, and dearly wishes to unite his sister with his friend Captain Peter Parker. But another holidaymaker, a handsome stranger, catches sight of Jane and is determined to make her acquaintance. This rival to Captain Parker is Samuel Rose: a lawyer, literary man and abolitionist. As the weeks pass, Jane's relationship with both men brings about unexpected surprises. By the end of the summer, the course of her life will have changed forever.

Set against the backdrop of Austen’s family, the tensions of the war against France, and naval and colonial politics, SIX WEEKS BY THE SEA is the fascinating story of how the most famous romance writer of all time fell in love for the first time.

READ MY REVIEW ON GOODREADS

Picture by Guillem Lopez

About the Author

Paula Byrne is the critically acclaimed author of five biographies, including Belle: The Slave Daughter and the Lord Chief Justice, The Real Jane Austen, The Genius of Jane Austen, and Mad World: Evelyn Waugh and the Secrets of Brideshead. She lives in New York City with her husband, the academic and biographer Jonathan Bate.

WHERE ARE TODAY'S MR DARCYS?

2025-08-02T19:27:00.002+02:00

As we celebrate the 250th anniversary of Jane Austen’s birth, Vanity Fair Italia published a delightful and thought-provoking piece by Alessandra Gonnella asking: Where are today’s Mr. Darcys?

Between London parks, dating apps, and Austen's timeless prose, the author reflects on whether the romantic ideals we cherish from Austen’s novels still have a place in our modern lives.

Here’s my English summary of the article, followed by the original (in Italian):

👉 Link to the original article on Vanity Fair Italia: Dove sono i Mr Darcy di oggi?

Where Are Today’s Mr. Darcys?

In this witty and nostalgic piece, Alessandra Gonnella wonders whether there’s still room for Jane Austen-style love in our modern world. On the 250th anniversary of Austen’s birth, London pays tribute with Regency-themed plays and public readings. Meanwhile, the author—Italian, single, idealistic—searches in vain for contemporary gentlemen who resemble Austen’s iconic heroes: proud but loyal men like Mr. Darcy, tender yet reserved men like Captain Wentworth, or playful ones like Henry Tilney.

Instead, modern dating seems to offer little more than awkward text messages and ghosting, a far cry from heartfelt declarations of love. Gonnella reflects that Austen’s male characters weren’t merely romantic ideals—they were a vision of what men could be: able to grow, listen, respect, and express deep feeling without domination or narcissism.

Even if today’s “Austen boys” don’t really exist—or never did—the author suggests perhaps we must write them ourselves. After all, the dream of a love built on courage, patience, and genuine connection still feels worth seeking, whether on Hampstead Heath or in our own imaginations.

Do you think Mr. Darcy could exist today—or has he always been just a literary dream? Which Austen hero would you most like to meet in real life—and why? Have you ever met someone who reminded you of an Austen gentleman?

PERSUASION IN ARABIC: A CONVERSATION WITH TRANSLATOR MAHA MAHMOUD SALEH

2025-07-30T09:00:00.002+02:00

by Maria Grazia, My Jane Austen Book Club

Jane Austen’s works have crossed centuries, borders, and languages—continuing to speak to readers around the world. Recently, Persuasion has taken on new life in Arabic, thanks to the thoughtful work of freelance translator Maha Mahmoud Saleh, based in Cairo.

When she reached out to share news of her translation, I was immediately intrigued—not only by the beautiful cover of the Arabic edition, but also by the opportunity to explore how Austen’s elegant irony and emotional depth could be reimagined for a different linguistic and cultural audience. Maha shared that she began her translation process by watching a 1990s film adaptation of Persuasion, and was struck by how familiar the story felt—almost like an old Arabic romantic drama. “If it weren’t for the distinctly English setting,” she told me, “I would have thought I was watching an old Arabic movie starring Faten Hamama and Omar Sharif—dubbed into English!”

For her, Anne’s emotional journey and the social pressures that shape her decisions echoed the plots of classic Egyptian cinema. This sense of resonance shaped her approach to the novel, which she describes as rich with emotion and cinematic detail. “In my opinion—and I’m no expert—the novel’s text is quite suitable for adaptation into a film or TV drama,” she added, noting Austen’s sensitivity to place, character behaviour, and the subtleties of feeling.

I invited Maha for a short interview to learn more about her experience translating Austen’s final completed novel and I’m delighted to share our conversation with you.

Interview with Maha Mahmoud Saleh

Still from Persuasion movie adaptation (1995)

What inspired you to translate Persuasion into Arabic?

As a matter of fact, my relationship with Jane Austen was not particularly strong, and my familiarity with her came mainly through artistic adaptations of her works—especially the novel Pride and Prejudice. One publisher drew my attention to the novel Persuasion, noting that it was the last work she wrote and that it was only published after her death. I was excited to translate it, considering it the culmination of her thoughts and the peak of her maturity in writing—especially since I had read some excerpts from her works and found them quite admirable.

What was the most challenging aspect of translating Jane Austen’s language and style into Arabic?

When I began reading Austen with the intention of translating her, I discovered that I knew of her more than I truly knew her. The excerpts I had read from her works did not do justice to her distinctive style. Austen’s writing is marked by long sentences, digressions, and parenthetical clauses, along with a subtle undercurrent of irony that flows effortlessly through the text. My plan was to determine first where a sentence begins and where it ends,and what is the main idea, then render it into Arabic in a way that stayed as close as possible to her original style. The difficult balance in translation lies in presenting the reader with a beautiful text in the target language, while preserving a style that is as true as possible to that of the original author.

Austen’s wit and irony are famously subtle. How did you approach preserving that tone in Arabic?

This was a real challenge. I thought it was essential to understand the parts of the text that contained irony or cultural references which were unclear to me. To make sure I didn’t miss any of these nuances, I consulted two additional books alongside the original text of the novel: The Annotated Persuasion by David M. Shapard, and Persuasion in Modern English, from the 'Classics Retold' series. I found these resources extremely helpful in clarifying ambiguous passages, and this in turn allowed me to convey them confidently in Arabic—either by translating them directly or by using a familiar Arabic equivalent of a proverb or saying. I also occasionally added punctuation marks to clarify subtle cues that might not be obvious in Arabic translation—for instance, using an exclamation mark to indicate surprise, astonishment, or evene disapproval.

Sally Hawkins as Ann Elliot in Persuasion 2007 movie

Were there any cultural references or expressions in Persuasion that were especially difficult to render in Arabic? How did you handle them?

There is no doubt that life in early 19th-century England included certain concepts and tools used in daily life that we do not know today—or that the Arabic language does not recognize. However, this did not really pose a significant difficulty. For example, the military ranks in the British navy or the various titles of nobility—I kept these as they are, because the Arabic reader is generally familiar with them, and I included a footnote explanation for readers who wish to explore the meaning further.

As for everyday tools, an example would be the bathing machine, which was unknown in Arab societies. I translated it according to the function it served: “عربات للسباحة” (swimming carriages), and then explained its meaning in a footnote so the reader could understand what the expression refers to. As for ideas and emotions -at least the ones depicted in Persuasion, they do not differ from one culture to another, once the translator grasps them in the source language, there is no difficulty in expressing them in the target language.

How is Jane Austen generally received in the Arab literary world? Is she widely read or studied?

As far as I know, all of Jane Austen’s novels have been translated into Arabic, and some of them more than once. She also has devoted readers in the Arab region who read her works in English. On the other hand, there is no doubt in my mind that many dramatic works in Arabic, over the past few decades have, in fact, been inspired by Jane Austen’s novels.

Do you have a favourite scene or character in Persuasion? Did your feelings change as you worked on the translation?

Yes, I definitely have favorite characters in the novel. Let me ask you—who could not love Anne? I truly loved her and was deeply moved by those moments when she spoke to herself, wondering about Captain Wentworth’s feelings toward her: Does he hate her? Is he indifferent? Does he love Louisa? Or does he love her and feel jealous? I also loved Admiral Croft and his wife, and my feelings toward them remained unchanged throughout the novel.

I’d like to add that Mary Elliot was not one of my favorite characters in the novel, but I was impressed by Austen’s skill in portraying this hysterical personality—as if she were an expert in psychology.

As for the scenes I liked, there are many of them, for example, the long conversation between Anne and Mrs. Smith, through which she learns the truth about Mr. Elliot, and the other conversation between Anne and Admiral Croft in Chapter Eighteen. I don’t want to share more details so as not to spoil the plot for the prospective reader.

What do you hope Arabic-speaking readers will take away from this translation of Persuasion?

I hope readers will find real enjoyment in reading such a romantic novel, rich with a wide range of human emotions felt by normal people in normal life , especially; at a time when the prevailing trend among readers, particularly younger ones, has shifted toward books of horror, crime, and all kinds of the fantastical.

Dakota Johnson starred in the latest adaptation of Persuasion (Netflix, 2022)

Have you translated other literary works? Do you plan to translate more of Austen’s novels in the future?

Yes, I have translated four other novels: Little Women by Louisa May Alcott, The Call of the Wild and White Fang by Jack London, and Treasure Island by Robert Louis Stevenson.

In fact, I do not currently have plans to translate more of Jane Austen’s works, but I would be happy to do so if a publisher showed interest.

Where can readers find your translation of Persuasion? Is it available online or in bookstores?

Readers can find my translation of Jane Austen’s novel clicking HERE or HERE

About the Book

Jane Austen’s final completed novel, Persuasion tells the story of Anne Elliot, a quiet and thoughtful woman who is given a second chance at love with Captain Frederick Wentworth, the man she was once persuaded to reject. Set against the backdrop of shifting social values and personal regret, the novel explores themes of constancy, maturity, and emotional resilience.

About the Translator

Maha Mahmoud Saleh is a Cairo-based freelance translator with a deep passion for Arabic literature and language. She holds a PhD in Arabic literature and a diploma in teaching Arabic as a foreign language. Over the years, she has worked as a journalist, a researcher, and a language instructor for both native and non-native speakers. Her journey through academia and publishing eventually led her to the world of literary translation—where she now channels both her scholarly background and creative spirit.

Maha sees translation as a joyful and demanding craft: a chance to bring beloved literary works into a new linguistic and cultural light. Her previous translations include Little Women, The Call of the Wild, White Fang, and Treasure Island. With Persuasion, she brings Jane Austen’s quiet, emotionally resonant story to Arabic readers with both clarity and care.

AUSTEN & THE ART OF SELF: IS EMMA WOODHOUSE A MODEL OF SELF-LOVE?

2025-07-13T11:39:00.003+02:00

Among Jane Austen’s heroines, Emma Woodhouse stands out—not because she’s the most virtuous or modest, but because she’s bold, flawed, and entirely herself. At the novel’s outset, she is beautiful, clever, and rich—as Austen famously puts it—but also proud, meddling, and often blind to the needs and feelings of others. And yet, this complexity is precisely what makes her compelling. In an era when women were expected to marry well and behave modestly, Emma chooses independence and unapologetic self-confidence. This post explores how Emma’s journey through mistakes, self-awareness, and emotional growth makes her a surprisingly modern model of self-love—not as a static ideal, but as a dynamic, evolving woman learning to love herself more wisely.

**Why Emma Can Be a Model of Self-Love**

Confidence in Her Worth
- Emma is intelligent, wealthy, and socially respected. She knows her value and doesn't seek validation through marriage—a radical stance in her time.
- She famously says, “I always deserve the best treatment because I never put up with any other.” This bold assertion signals a sense of self-respect and boundaries.
Autonomy and Independence
- She declares she has “very little intention of ever marrying at all,” emphasizing her independence. In an era where a woman’s future was usually defined by a husband, Emma’s stance is a form of early feminist self-love.
Capacity for Growth
- Emma begins the novel flawed—vain, meddlesome, and a bit self-satisfied—but crucially, she is willing to reflect, admit error, and improve.
- Her humility by the end reflects a mature, self-aware version of self-love—not ego, but acceptance, compassion, and a desire to be better.
Self-Love as a Journey
- Austen presents Emma’s journey not as a fall from pride, but a refinement of her confidence into kindness and wisdom. This makes her a relatable model: someone who loves herself, makes mistakes, and becomes better for it.

Anya Taylor Joy as Emma Woodhouse, 2020

⚠️ Caution: The Dangers of Unchecked Self-Love

Emma also shows how self-love can drift into

Narcissism – She overestimates her insight into others’ lives (e.g., matchmaking Harriet).
Classism and Snobbery – Early Emma is dismissive of those "beneath" her in status.
Emotional Blindness – She misreads others’ feelings and intentions, particularly Mr. Elton and Harriet.

But Austen doesn’t punish Emma—she guides her, using Mr. Knightley’s honesty and Emma’s own conscience as tools of growth.

"Badly done, Emma!" - Gwyneth Paltrow and Jeremy Northam, 1995 🎬

But what happens when we view Emma not just as a literary character, but as a figure within today’s self-help and wellness culture? In a world obsessed with confidence, boundaries, emotional intelligence, and personal growth, Emma’s story takes on new relevance. Her evolution—from controlling matchmaker to introspective and emotionally attuned woman—mirrors the very journey modern self-help encourages: embracing imperfection, learning through failure, and cultivating authentic self-worth.

In this next section, we’ll reinterpret Emma Woodhouse through a contemporary lens. We'll see how her personal growth aligns with today’s psychological and self-development principles.

Romola Garai as Emma Woodhouse, BBC 2009

Emma Woodhouse in a Modern Self-Help Context

1. The growth mindset journey

Emma begins with overconfidence, but unlike a “toxic positivity” figure, she learns through her failures. In self-help terms:

She embodies the “growth mindset” (à la Carol Dweck): “I can improve. I can learn to do better.”
Her transformation from a meddler to a mindful friend and partner is a textbook example of self-development through reflection.

Self-help takeaway: You don’t have to be perfect to be lovable—just willing to grow.

2. Self-worth without codependency

In a world of dating apps and relationship anxiety, Emma would be seen as a rare symbol of romantic independence.

She doesn’t chase male attention.
She’s confident being single.
She only chooses love once she’s emotionally ready.

Self-help takeaway: True self-love includes being enough on your own, not rushing to "complete" yourself through a partner.

3. Emotional Intelligence (EQ) Work in Progress

Modern wellness culture prizes emotional intelligence—something Emma lacks early on but grows into:

She learns to listen instead of assume.
She realizes empathy matters more than being “right.”
Her apology to Miss Bates is a clear EQ breakthrough moment.

Self-help takeaway: Emotional maturity doesn’t come from status or smarts—it comes from compassion and accountability.

4. The Flawed-but-Worthy Archetype

Emma isn’t the usual self-help “success story” who has it all figured out. She’s flawed, proud, even occasionally mean—but she works on herself.

This fits the modern movement toward self-compassion: loving yourself even when you mess up.
Think Brené Brown-style vulnerability: owning your mistakes and still showing up for growth.

Self-help takeaway: You can both love yourself and hold yourself accountable.

5. Boundaries and Control

Emma’s early meddling reflects a lack of boundaries, common in relationships today.

She imposes her ideas on Harriet, misjudges people's feelings, and doesn’t realize she’s projecting her own control needs.
Her growth lies in learning to respect others’ autonomy, a key tenet in self-help on relationships and boundaries (e.g., Nedra Glover Tawwab’s work).

Self-help takeaway: Loving others well requires releasing control—and letting people make their own choices.

Still from Emma 2020 directed by Autumn De Wilde

Emma as the “self-love, evolving” icon

If Emma had a self-help book, it might be titled “Perfectly Imperfect: How I Meddled, Misread, and Still Became My Best Self”.

She's a reminder that

Self-love isn’t arrogance—it’s resilience, growth, and grace.
Being flawed doesn’t disqualify you from happiness.
You don’t need to get everything right to become someone truly good.

INTERVIEW WITH ALANA HIGHBURY: A MODERN PERSUASION WITH A TWIST

2025-06-17T12:56:00.001+02:00

Dear Janeites and romance lovers,

I’m thrilled to welcome Alana Highbury to My Jane Austen Book Club! Alana has once again woven Austen-inspired magic with her latest contemporary romance, the second book in her captivating series. This time, she brings us a modern take on Persuasion, filled with heartbreak, second chances, and the undeniable pull of unfinished love.

In this novel, Annie is forced to confront her past when Kylan—the man whose heart she broke four years ago—unexpectedly re-enters her life. As she struggles to rebuild herself after personal setbacks, Annie must navigate not only her lingering feelings for Kylan but also the professional challenge of working with him. Will she be able to hold her ground, or will fate offer them a long-awaited second chance?

Join me as I chat with Alana about her inspiration, the emotional depths of her characters, and what’s next in her Austen-inspired world! MG💕

 What inspired you to write this modern take on Persuasion?

I’ve been a Jane Austen fan for a long time, though Persuasion has only fairly recently (within the last 5 years) become my favorite Austen novel. I love Anne Elliot, and of all the Austen heroines, I feel most attuned to her. I love Anne’s quiet strength, deep feeling, and kind nature—and I’m always drawn to a good second-chance romance full of yearning and the most satisfying of endings.

 Annie's journey is deeply emotional—what was the most challenging part of writing her character arc?

I think this might be the most emotional book I’ve written so far. As I said, Anne Elliot is the Austen heroine I relate to the most, but Annie York is different in a lot of ways. Anne is quiet and reserved, whereas Annie is outgoing and fairly confident—traits I admire but don’t personally share! In some ways, that was the most challenging part of writing Annie’s character, especially with this being a highly character-driven story. She was very different from me in many ways, and I really had to step outside my comfort zone to write a character like that, especially in the midst of the numerous personal and professional crises Annie faces.

 Kylan is a compelling love interest. How did you develop his character, and what makes him the perfect counterpart to Annie?

Kylan is a closer match to Captain Wentworth (the hero in Austen’s Persuasion), and he was a more straightforward modern adaptation in that sense than, for example, Annie’s character was. They were very different in many ways, so there was that similar sense of opposites attracting but also the painful realities of coming from different worlds, particularly with meddling friends and family and the indecision of youth. Annie needed someone different from her, someone a bit more serious and grounded, but also warm and loving. He’s a natural contrast to the stifled, loveless upbringing she’s trying to grow beyond.

 This book tackles themes of second chances, personal growth, and overcoming the past. What message do you hope readers take away from Annie’s story?

Annie’s story is about second chances at love in all of its forms—romance, friendship, and self-love. And despite the odds—despite the adversity she’s faced in both the past and present—we love seeing a heroine such as Annie succeeding despite everything. The greater the obstacles, the greater the eventual reward, I think. I want everyone who reads the story (and even those who don’t!) to know that there is always hope. You can change, you can survive, and you can thrive. And you can find love, whether it’s your romantic soulmate, your friends that become your family, or the greatest love of all, for yourself.

 Jane Austen’s Persuasion is known for its themes of regret and resilience. Were there any particular scenes or moments from the original novel that you wanted to echo in your book?

Let’s face it, Annie was a little rough around the edges—much more so than any other main characters I’ve written. From the start, she was unapologetically herself in a way that most of my other characters have never been. Still, she had a long journey of healing and finding her way, and in that sense, she showed a lot of the same resilience and grit that our original Anne Elliot displayed throughout Persuasion. Of course, the theme of regret runs deeply through my novel as Annie pushes away painful memories and lingering feelings for Kylan. She doesn’t even recognize her emotions as regret at first—in fact, she actively resists it—but it’s there, quietly shaping her choices as she grapples with the love she never truly let go.

 The publishing industry setting adds a unique twist—what drew you to place Annie and Kylan in this world?

When I decided to write this book, I’d already finished Austen Inspired (book 1 of the series), so I already knew Annie was set in this world. When I started that book over a decade ago, I was myself working as a contract editor, just like Viviana and Annie did. I thought it would be fun to keep the entire series set in the bookish world, so I set out to find the perfect career path for Annie—and I thought with her people skills and extroverted nature (and love of books, stemming from the only happy part of her childhood home), the job of literary agent would be appealing to her on many levels. I also needed Kylan to be in a similar world as he reentered her life, just as Captain Wentworth found his way back into Anne Elliot’s social circle in Austen’s novel. The additional twist in which he was not only wealthier than her now but also her boss was a spontaneous idea—and one that ended up being a lot of fun to write!

 This is the second book in a series—can you tell us a bit about how it connects to the first book and what readers can expect next?

The main character in this book, Annie, is a side character in the first book, Austen Inspired. She is the main character’s friend and coworker, and their falling out in that book is revisited in Austen Persuaded—this time from Annie’s perspective. In the first book, Annie’s character was written as somewhat superficial, obsessed with fashion and her latest boy toy, Brandon. I was excited to take on the challenge of really exploring Annie’s character on a deeper level, revealing she was not at all a superficial person but full of many interesting layers, a troubled past, and an inner strength and resilience that was probably much stronger than Viviana’s. Annie is a departure from all the other characters I’ve written, but I hope you love her as much as I do.

 If you could dream-cast Annie and Kylan in a movie adaptation, who would you choose?

Mary Kate Wiles, Lydia Bennet in The Lizzie Bennet Diaries

For Annie, I actually pictured Mary Kate Wiles while writing—especially her portrayal of Lydia Bennet in The Lizzie Bennet Diaries web series. In addition to the bright red hair, there’s this outward sparkle and sass paired with emotional depth and vulnerability that really captured the Annie I had in mind. She’s bright and bold on the surface, but there’s so much going on underneath—and Mary Kate played that kind of complexity so beautifully.

As for Kylan, I didn’t have one specific actor in mind, but I always imagined someone with a quiet intensity—a bit serious and grounded, but still warm and deeply feeling. The kind of guy who doesn’t need to take up all the space in the room, but when he speaks, it matters. I’d love to hear who readers imagine, though—those mental castings are so much fun!

ABOUT THE BOOK

She gave up on love. He gave up on her. Now they have to work together.

On the surface, Annie has it all—beauty, brains, youth, a flexible job, and a party girl image—even as a troubled childhood and a missed chance at love continue to haunt her. Then it all comes crashing down: betrayed by both her boyfriend and a close friend, she’s forced to quit her job and spirals into a deep depression fueled by alcohol and her toxic, narcissistic mother. Beneath it all is a growing fear she’ll run into her ex, Kylan, who's suddenly back in town. How can she face the man whose heart she broke four years ago—the one who left her life but never her heart?

Just as Annie is finally getting back on her feet and pursuing a new passion as a literary agent assistant, another bomb drops: Kylan’s New York agency is acquiring the one that just hired her. Now, she's stuck working in the same office while watching her new friend and coworker flirt with him.

Can she survive working for him while he’s in town, or will it cost her the dream job?

ABOUT THE AUTHOR

Alana Highbury is the bestselling author of the Austen Inspired series and the Love & Holidays series. Her novels blend rom-com, contemporary romance, and women’s fiction, and she brings two decades of professional experience and a master’s in English. When not writing, she’s usually found reading, cross stitching, board gaming, or hanging out with her family, which includes a writerly husband, two children, two beautiful, lazy cats, and an elderly, feisty cockatiel.

Austen Inspired

Austen Persuaded

JAYNE BAMBER PRESENTS HER NEW PRIDE AND PREJUDICE VARIATION: KINDLY MEANT INTERFERENCE

2025-06-16T08:30:00.001+02:00

Hello readers, it’s great to be back at My Jane Austen Book Club! I’m so excited to share another sneak peek of my new release, Kindly Meant Interference, which is coming to Kindle on June 18th. I had a blast writing this P&P variation, largely because I really have a soft spot for Caroline Bingley.

In this retelling, she plays an integral role in Darcy and Elizabeth’s love story. After overhearing Darcy say he will never marry her on the night of the assembly, Caroline decides that the best way to continue enjoying access to Pemberley and Darcy’s social connections is to be the dearest friend of his future wife. And when Darcy admires Elizabeth’s “fine eyes” at Lucas Lodge, Caroline knows who his future bride ought to be.

Today I am sharing an excerpt from that party at Lucas Lodge. When Caroline sees Elizabeth not as a rival but more of a project, the course of the story takes a very different course….

Jayne Bamber

***

Miss Bingley proved incredibly talented as she played and sang a complicated aria, and Elizabeth did her best to listen attentively, for she really wished to make amends for any offense she had given the lady. If Miss Bingley could be an ally to Jane’s future happiness, Elizabeth was ready to reign in her impertinence and make every effort toward friendship.

Mary claimed the instrument next, and Miss Bingley sought Elizabeth out again; this time, they spoke with the colonel of the regiment. His notion of giving a ball was met with encouragement from both of the ladies, and there was no further tension on Miss Bingley’s part at the allusion to dancing. Mr. Darcy observed them from some distance, and seemed to be moving closer at intervals, though he did not appear inclined to join the conversation like a normal person.

Miss Bingley was determined to ignore him, but Elizabeth could not. A glass of wine fortified her curiosity, and when she and Miss Bingley were left alone, she questioned her new friend directly. “What can Mr. Darcy mean by listening to our conversation? Does he carry on like this at Netherfield?”

“He is easier amongst intimate friends than in large parties of persons not well known to him,” Miss Bingley said in a low voice.

Elizabeth smiled playfully at Miss Bingley. “I wonder that he has any intimate friends, for surely they must have once been unknown to him, as well.”

“I am reminded of your observations about your sister,” Miss Bingley replied.

Elizabeth gave an appreciative chuckle. “Then there is hope for Jane, for Mr. Bingley is accustomed to persevering in the face of reticence.”

“No little difference from your own disposition, I am sure,” Miss Bingley replied.

Again there was a trace of something pensive in Miss Bingley’s voice; Elizabeth was certain that Miss Bingley harbored some regard for Mr. Darcy. Perhaps with such an effusive brother, the lady preferred a silent suitor. “Whatever the merits of a taciturn beau, I must nettle him a little. If I am not impertinent, I may soon grow afraid of your Mr. Darcy.”

Miss Bingley looked surprised, but the upturning of her lips was far enough from a protest that Elizabeth did not hesitate on her new friend’s behalf. She turned to meet Mr. Darcy’s eye, and he was near enough by now for her to address him directly. “Did we not express ourselves well, sir, in teasing Colonel Forster about giving a ball?”

He inclined his head. “With great energy; but it is a subject which always makes a lady energetic.”

Elizabeth stood with her shoulder brushing Miss Bingley’s and leaned in to pretend to whisper, “He is severe upon us, is he not?”

Miss Bingley tipped her head to one side and studied Mr. Darcy for a moment. “Indeed he is - but a ball must be suitable punishment for his severity. Why, I begin to think I may suggest my brother give a ball at Netherfield.”

“Ah! She is not afraid of you, Mr. Darcy, and so I will follow her lead and declare there is no enjoyment like dancing.”

Sir William Lucas sauntered up to them and clapped his hands. “Indeed, there is no better amusement for young people!” He gestured to where Kitty and Lydia had entreated the officers to form a reel with them. “I consider it one of the first refinements of polished societies.”

“Certainly,” Mr. Darcy replied. He took a step closer and regarded Elizabeth with a sportive look. “But it has the advantage of also being in vogue amongst the less polished societies of the world. Every savage can dance.”

Elizabeth arched an eyebrow at him, her intent to promote Miss Bingley forgotten in the face of his challenge. “Even if one’s partner is barely tolerable.”

Miss Bingley gave a little gasp and Mr. Darcy blinked before parting his lips, only to abruptly close them again. His color heightened; Miss Bingley blanched. Across the room, Jane and Mr. Bingley had joined in the dancing, and Sir William called out his encouragement to them. To Mr. Darcy, he said, “Your friend is a delightful dancer. Will you not honor us, as you did at the assembly?”

Sir William gestured to the ladies, and Elizabeth looked pointedly at Miss Bingley, who swiftly demurred. “Mr. Darcy is indeed an excellent dancer, but I beg you would not imagine, Sir William, that I spoke to Miss Elizabeth of dancing because I wished to do so myself.” Miss Bingley bobbed into a curtsey and abruptly moved away from them.

Sir William was stymied only for a moment before taking Elizabeth’s hand and offering it to Mr. Darcy with a great deal of reverence, as if gifting the man a rare jewel. “Allow me to present Miss Elizabeth to you as a very desirable partner. You cannot refuse to dance, as Miss Bingley has done, when there is so much beauty before you.”

Elizabeth watched Miss Bingley stalk away. She did not wish to vex the lady, whose sighs over Mr. Darcy had made a strong impression on Elizabeth’s sensibilities. Moreover, Mrs. Bennet had been so offended by Mr. Darcy’s snobbery at the assembly that Elizabeth had promised her mother she would never dance with the gentleman.

But Mr. Darcy inclined his head and gave a slight bow. “I should be happy to oblige, sir.”

He reached for Elizabeth’s hand, but she hesitated. “Mr. Darcy is all politeness.”

“Indeed he is - a most agreeable partner,” Sir William cried, placing her hand in Mr. Darcy’s.

Elizabeth could protest no further; Mr. Darcy led her across the room to join the set beside Jane and Mr. Bingley, who both looked at them with happy surprise.

Mr. Darcy was a fine dancer; Elizabeth was chagrined, and a little annoyed to discover it. “You acquit yourself well, sir; shall I next discover you cavorting around a fire, or painting your face with woad?”

He barked out a laugh before schooling his countenance into a mirror of her own arch expression. “I shall limit my oddities to eavesdropping for the time being.”

“A very gracious repayment for my condescension, in standing up with a gentleman who was slighted by other ladies.”

Elizabeth had just enough time to relish his look of understanding before the music came to an end. The other dancers all applauded one another, but Elizabeth merely dipped into a curtsey before stalking toward the instrument. Mary had delighted them for long enough, and Elizabeth had no wish to speak to anybody of her brief dance with Mr. Darcy.

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