![]() ![]() You know who the girl is.Īnd there’s another issue: we’re in 1803, among the British upper class, a group legendary for their restraint and stately behavior. ![]() You’d almost have to - but as a result, D eath Comes to Pemberley loses the light touch of its antecedent. ![]() James‘ mandate was to create a mystery, so she stays with a fairly naturalistic, involved-in-the-action position. The author’s choice of narrative distance in any fiction determines how the reader perceives the action. Mysteries suck you in: they drop you into the middle of the action so you can undergo the ritual progress from disequilibrium to restoration of order. ![]() (Or maybe I’m a terrible crank: my online trawling showed me that many reviews have been terrific, so possibly I’m the only one complaining.) Austen’s comedy depends on distance: the narrator stands back from her characters to discreetly point out their silliness. You’d need an author who could construct a plausible murder mystery and at the same time respect the context provided by the source material.īut, you know, maybe this project was doomed from the start. But surely, if anyone was going to write a murder mystery sequel to Pride and Prejudice, P.D. I had such high hopes for Death Comes to Pember ley. I’m not a big fan of the mash-up and I’m traditional enough to believe that Miss Austen’s work shouldn’t be meddled with. ![]()
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