The Disappearance of Georgiana Darcy by Regina Jeffers

Longtime readers of this blog will know the great love I have for Regina Jeffers books.  The Disappearance of Georgiana Darcy is, in many way emblematic of her work, combining vivid scenery and historic detail to bring the world of Austen's characters intensely alive, as in this passage:

He wove his way through yet another overflowing berm before he entered the narrow valley below the rocky ledge. A marshy moor flanked by thick heather awaited him, and Wickham urged his horse cautiously forward. "Easy," he said calmly. although he felt anything but calm. He wanted to be free of the constant downpour. He wanted dry clothes. He wanted to escape Scotland, his past, and Darcy's revenge.

The horse stepped gingerly. A sucking noise following each release of its hoofs. "Not much farther," he said as he stroked the animal's mane, while encouraging it forward with his knees. "There is bound to be a lean-to."

One step. Then two. Step by step closer to a few minutes of dry shelter and the opportunity to weigh his options. Where to go next? What to do about Lydia? How to avoid Darcy's retribution? All his choices remained out of reach - nearly as elusive as the cottage's shelter.

Tantalizing, isn't it? The entire book is seductive - I can think of no better word to use - carrying the reader irresistibly forward through its plot, but the terrain covered is sinister in the extreme. Thank goodness the main characters are not implicated in the dark world Ms. Jeffers creates, complete with pretty much everything licentious. Welcome to Normanna Hall. Delving into Scottish lore, the reader is lead through a twisted tale of intrigue:

Domhnall bit back his retort. Somehow, his uncle had weaseled his way into a welcomed position with the MacBethan household. Domhnall wondered what his Uncle McCullough knew of his mother's "madness" - of the way she had sent them all on a ticket straight to Hell. "Tell me, Uncle," he said through gritted teeth, "when was my father's edict regardig your presence at Normana rescinded?"

"It be no longer Coll's house," his mother interceded.

"No, it is mine, and I am my father's child," Domhnall growled. "I may be the product of my father's lying early on with a bastard's daughter, but I do not need to be reminded of my lineage by my mother's equally ruined family."

I have been noticing an increasingly sinister strain in Ms. Jeffers works. I did not review her last book I read, The Scandal of Lady Eleanor, because I was unsure how to deal with the deviant sexuality which forms a foundation for the plot. At the time, I excused myself on the grounds that the book was not Austenesque, but before I read it I had intended to review it anyway. It was an easy out of an awkward situation, but my cowardice only delayed the pain, and now I am in the same situation without an escape clause.

The Disappearance of Georgiana Darcy is a beautifully written book, but I could not enjoy it. I anxiously turned each page, but the content just made me extremely uncomfortable. Others are sure to feel differently, and I encourage those interested in such things to read this book, but I read Austenesque to escape from the constant inundation of violence and horror we are subjected to in our society. This book felt like a terrible news story, the kind that leaves you wishing you could erase the information from your mind.

This book is my second review for the Pride and Prejudice Bicentenary Challenge.

The Deception at Lyme by Carrie Bebris

One should never make promises one cannot keep. In March of 2010, in a post titled "The Mr. and Mrs. Darcy Mysteries by Carrie Bebris", I asserted firmly that "I will most certainly be reviewing [The Deception at Lyme] here as soon as it becomes available." Well, the book came out last September, and  have been so absorbed with my little one that I did not get the opportunity to sit down and read it until this weekend. If there is anyone out there who has been anxiously waiting for me to make good on my word, I apologize for this terribly tardy review.

As stated in the post quoted above, Ms. Bebris' books have gotten better as this series progressed. The last book, The Intrigue at Highbury (reviewed here), is by far the best she has composed thus far, and she is a smart enough author to have replicated, as much as possible, the elements that were so successful in that novel. In The Deception at Lyme, she again immerses us in the society of Austen's characters, this time the cast of Persuasion. Unfortunately, we spend much of that time with the many undesirable characters to populate that book (would have enjoyed more Anne and Wentworth). The action begins when the Darcys arrive at Lyme for the duel purpose of enjoying the sea air and meeting with a naval officer who has transported home their cousin's trunk, he having died in battle a few years earlier. Almost immediately they find the body of a pregnant woman who has fallen from the Cobb. She still lives and is quickly transported to the small home of the Harville's, recommended for their previous experience with such matters. When the woman proves to be Mrs. Clay, the Darcys find themselves suddenly immersed in the affairs of the Elliot clan.

I do not want to reveal too much of the intricate plot that unfolds, but I promise you will have great difficulty putting it down. So as not to spoil the fun, I will only make mention of a few highlights. Ms. Bebris does an excellent job of developing Mrs. Smith's story, firmly rooting her tale in Austen's account. I always appreciate when Austenesque authors demonstrative careful attention to their source material.  I was actually a bit concerned when the Darcy's old friend, Dr. Randolph., makes an appearance, for his presence is associated with all the voodoo and mysticism that prevailed in the first few books in this series and, I believed, hindered their success, but his cameo provides important plot development without bogging the story down in the unexplainable. Nicely done indeed, though I did keep expecting him to have some further role int the story. And just one little spoiler, for I must share with you my favorite moment of the book - the entrance of Captain Wentworth, when he joins Darcy in a chase towards a two-year-old tottering on the harbor's edge:

The sound of Darcy's footfalls striking the hard pavement did command the attention of the gentlemen near the warehouses on the quay. One of them, identifying the danger and realizing Darcy's purpose, himself broke into a run. From opposite ends of the Cobb they neared the toddler, their swift advanced at last penetrating Ben's awareness. The sudden sight of two men descending upon him startled the child. As the gap between them closed, the boy jerked involuntarily, upsetting his equilibrium. 


Ben teetered over the water at an angle impossible for the child to correct on his own. Darcy reached for him, but his grasp was two strides shy. The other gentleman, however, was close enough to extend his arm and push the boy toward Darcy, sacrificing his own balance - and tumbling into the water himself.

What a wonderful moment to bring two of Austen's greatest heroes together, rushing to the rescue in tandem! Moments like this are what makes these books so much fun. I wonder if there will be any more Mr. and Mrs. Darcy Mysteries - we now have one book for each of Austen's major novels, but the Darcys' story feels like it is only beginning. It would be lovely if we could mingle with those characters from other novels that have becoming friends with the Darcys once more. I will remain on the lookout for further books, though I make no promises regarding the promptness of my reviews.

The Rice Portrait Mystery

Jane Odiwe, artist and author of Lydia Bennet's Story, Willoughby's Return, and Mr. Darcy's Secret, has been at the forefront of unraveling a real life Austenesque mystery. The subject is the controversial "Rice Portrait" of Jane Austen, long believed by some to be the best (by far) portrait of the writer ever painted. The authenticity of the painting's subject has been a matter of dispute for generations. If it is Jane, it is the answer to many a fan's dreams, portraying her in all the youthful beauty we would like to attribute to the beloved author, but verification has never occurred. The argument for the portrait is compelling: the Rice family are direct descendants of Edward Austen Knight, Jane's wealthy brother, and the painting has been in the family since shortly after its execution. Despite familial testimonials, which have long held it to be an image of Jane, doubts about the painting have centered upon the lack of written mention of it from contemporary sources and questions about the period appropriateness of the sitter's dress. However, Ms. Odiwe has been presenting new and exciting evidence that makes the case that the portrait is indeed Jane and, perhaps even more thrilling to me, revealing a new painting that might very well be an even earlier image of the writer, portrayed with her family as a very young girl. I was ecstatic to be asked to share this information with you, and I urge everyone to follow Ms. Odiwe's blog (http://janeaustensequels.blogspot.com) as she reveals more and more pieces to this fascinating puzzle.

The first aspect in this new argument for authenticity is premised upon identifying Ozias Humphrey, portrait painter and miniaturist, as an established painter of the Austen family. Ms. Odiwe provides a brief biography of the artist in her first post in this series, which you can read here. Humphrey most certainly painted a portrait of Austen's great-uncle, Francis Austen of Sevenoaks, the man who paid for George Austen's (Jane's father) education and presented him with his second living at Deane, and Henry Austen is recorded commenting upon the painting. Furthermore, it is believed that Jane and Casandra were visiting Francis at the time when the Rice Portrait was commissioned. Humphrey's work can be identified by an unusual insignia he included in his paintings: an O with an H crossed through its middle. Ms. Odiwe's second post (read it here) focuses on identifying this mark in a series of Austen family portraits, starting with the verified image of Edward Austen Knight upon the occasion of his Grand Tour in 1788. First establishing a compelling argument that this portrait was not painted in Rome, as has been asserted, but in England, she goes on to identify Humphrey's signature hidden in the texture of the tree upon which Edward leans (an English oak). This brings us to the contentious portrait of Jane, also believed to be executed in 1788, in which she identifies not just one, but three potential monograms: in the tree, by her shoe, and in the locket around her neck.

Humphrey's establishment as a painter of the Austens becomes even more important in Ms. Odiwe's third post (read it here), in which she presents what she call a "Conversation Piece" and argues it is, in fact, an image of the Austens upon the occasion of Edward's adoption by the Knights. As intrigued as I was by the notion that new evidence has emerged confirming the identity of the young lady in the Rice Portrait, this painting sends cascades of chills down my spine. It is of a family, of a socioeconomic situation in keeping with the Austens', celebrating the eldest boy portrayed holding a bunch of grapes in triumph as his family looks on approvingly. If this is the Austens, then Jane is the young girl to Edward's left, flanked by Cassandra, and the boy on Edward's other side is either Henry or Francis (the latter is favored). James would be at school at the time, and Charles would still be with his wet nurse. The painting was part of a Godmersham Park (the Knight family home) estate sale in 1983 and is described in the accompanying Christie's catalogue, but its current whereabouts are unknown. Unfortunately, ths leaves us without a great image of the painting, or the ability for experts to examine it first hand, but Humphrey's signature OH can be spotted in many spots, (unfortunately, none of these are identifiable online). Even more exciting is the fact that Jane seems to be holding a horseshoe nail in her hand and pointing it at Edward. To return to his portrait, a similar (very small) horseshoe nail can be identified pointing towards him at his feet. Family lore has it that this symbol was significant to Edward, and Jane herself makes reference to it in one of her letters from 1813. I hope Ms. Odiwe will be revealing more information about the relevance of this symbol, but a bit of light research I have indulged in on my own reveals that horseshoe nails have long been used, like horseshoes themselves, to bring good luck and provide protection. There is also a religious affiliation, made in reference to the crucifixion.


While I feel like more information is still required (and most anxiously desired!) there is no doubt that Ms. Odiwe's recent posts are amongst the most fascinating it has ever been my pleasure to read. Let us all hope that we can, with brazen confidence, someday declare that the pretty young lady in the Rice Portrait is none other than a gorgeous Jane Austen. If we can add to the pleasure that of identifying an even younger Jane in the Conversation Piece, we will be happy Janeites indeed. Keep following this story on Ms. Odiwe's blog, and I will follow up as more details are revealed. Most importantly, if anyone has any information that helps authenticate either painting or regarding the current whereabouts of the family portrait, please get in contact with Ms. Odiwe via her blog, as the Rices are (understandably) very anxious to get to the bottom of these mysteries.