The story is set in 1803, six years after “Pride and
Prejudice” was finished (though it wasn’t published until 1813) and presumably
when the marriage of Elizabeth and Darcy took place. They have two young sons
now, and the arrival of a third child is shortly to be announced. But their
tranquillity is interrupted one wet and windy evening when an unexpected
carriage comes rocketing up the drive.
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Ms. James, 91 and the author of 20 previous books, is the
greatest living writer of British crime fiction, and probably that genre’s most
talented practitioner ever. It’s hard to imagine any of her predecessors — like
Dorothy L. Sayers, Ngaio Marsh, Julian Symons or even Agatha Christie, who for
all her plotting skills was not much of a prose stylist — having the nerve to
attempt an Austen sequel, let alone the ability to pull it off.
The style of “Death Comes to Pemberley” is a loose
approximation of 19th-century prose, a sort of modern equivalent, rather than a
painstaking imitation. But it’s more than convincing and every now and then, as
a kind of homage or reminder, hits the precise, epigrammatic Austen note.
Ms. James cleverly weaves in references to both “Emma” and “Persuasion” in a way that expands the world of her novel, and “Death Comes to Pemberley” also has a descriptive density greater than any of Austen’s books. Austen could take the 19th century, its customs and culture, for granted. Ms. James very satisfyingly recreates them.
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