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Автор Сара Уотерс

Dancing

with Mr. Darcy

Stories Inspired by Jane Austen

and Chawton House Library

COMPILED BY SARAH WATERS

CONTENTS

FOREWORD

INTRODUCTION

JANE AUSTEN OVER THE STYX: Victoria Owens

SECOND THOUGHTS: Elsa A. Solender

JAYNE: Kirsty Mitchell

THE DELAFORD LADIES’ DETECTIVE AGENCY: Elizabeth Hopkinson

TEARS FALL ON ORKNEY: Nancy Saunders

EIGHT YEARS LATER: Elaine Grotefeld

BROKEN WORDS SUZY: Ceulan Hughes

MISS AUSTEN VICTORIOUS: Esther Bellamy

CLEVERCLOGS: Hilary Spiers

SNOWMELT: Lane Ashfeldt

THE WATERSHED: Stephanie Shields

SOMEWHERE: Kelly Brendel

THE OXFAM DRESS: Penelope Randall

MARIANNE AND ELLIE: Beth Cordingly

THE JANE AUSTEN HEN WEEKEND: Clair Humphries

ONE CHARACTER IN SEARCH OF HER LOVE STORY ROLE: Felicity Cowie

SECOND FRUITS: Stephanie Tillotson

THE SCHOOL TRIP: Jacqui Hazell

WE NEED TO TALK ABOUT MR COLLINS: Mary Howell

BINA: Andrea Watsmore

Biographies

The Judges

Chawton House Library

Copyright

About the Publisher

Notes

FOREWORD

From Bridget Jones’s Diary to Bollywood’s Bride and Prejudice, from the Regency-horror mash-up Pride and Prejudice and Zombies to the forthcoming sci-fi film Pride and Predator, it seems that Jane Austen’s work is being appropriated by contemporary culture in ever more playful and creative ways. The fact that most of the modern interest in Austen converges on just one of her novels, however, suggests that the role she plays for us might actually be dwindling, even as her presence around us seems to be on the increase. It’s as if Pride and Prejudice has become a sort of shorthand for a whole style of literature, distracting us from the range and depth of its author’s work, and offering us instead a cartoon Austen, a thing of fussy bonnets and silly manners, easy to pastiche. When I was approached by Chawton House Library and invited to judge the final stage of the short-story competition which formed the basis for this anthology, I was delighted, but also trepidatious – fearful that I would find this cartoon Austen reproduced in the stories I was asked to judge; that I would encounter nothing but Elizabeth Bennets engaged in perpetual pallid dalliances with cardboard Mr Darcys.

But my first glance at the longlisted entries was reassuring: I saw some startlingly unAusten-like titles, and an impressive array of settings and styles. In fact, so individual did the stories prove to be, the process of assessing each against its competitors became a highly challenging one.

Feeling I needed to lay down some ground rules, I decided on three main criteria. First, it seemed to me that I had to be looking for something well written – a concept which, I fully understand, can mean different things to different people, but which for me meant something written with flair, by an author with an obvious talent for putting words together; but something written with skill and confidence, too – something to make me feel that, as a reader, from the first word to the last I was in good hands. Second, since this was a short-story competition, I also wanted to see stories really working as stories: there were some lovely pieces of writing that I rejected, regretfully, because they felt to me like fragments of prose, rather than the well-crafted, self-contained structure I felt a good short story should be. And finally, since this was a Jane Austen short-story competition, I wanted the stories to have some really meaningful connection with Austen herself. I was pretty flexible about this. As far as I was concerned, the connection might have been a very obvious engagement with the novelist, her work, her Chawton home or Chawton House Library; or it might have been something much more abstract; but I felt it needed to be there.