{"id":6606,"date":"2026-09-04T17:54:57","date_gmt":"2026-09-04T17:54:57","guid":{"rendered":"https:\/\/www.bars.ac.uk\/blog\/?p=6606"},"modified":"2026-09-04T17:55:57","modified_gmt":"2026-09-04T17:55:57","slug":"elementary-my-dear-austen-why-jane-austen-has-turned-to-crime","status":"publish","type":"post","link":"https:\/\/www.bars.ac.uk\/blog\/?p=6606","title":{"rendered":"\u201cElementary, My Dear Austen\u201d: Why Jane Austen Has Turned to Crime"},"content":{"rendered":"\n<p>It is a truth universally acknowledged that a Jane Austen fan will wonder what happens to her characters beyond the scope of the novels. When asked by her nieces and nephews about what the future had in store for the secondary characters that hadn\u2019t received as much attention in the \u2013 by then published \u2013 <em>Pride and Prejudice<\/em>, Austen is said to have told them a couple of things: Kitty married a clergyman, and Mary had to settle for marrying one of her uncle\u2019s clerks. The answer \u2018after the disappearance of her friend, Caroline Bingley found herself investigating a murder and uncovering a plot to smuggle goods traded by the East India Company,\u2019 isn\u2019t likely to have been one of the answers Austen gave her nieces and nephews. Yet, that is the precise scenario put forward by the recent novel by the Australian writers Kelly Gardiner and Sharmini Kumar, <em><a href=\"https:\/\/kellygardiner.com\/fiction\/books\/fine-eyes\/\" data-type=\"URL\" data-id=\"https:\/\/kellygardiner.com\/fiction\/books\/fine-eyes\/\" target=\"_blank\" rel=\"noreferrer noopener\">Miss Caroline Bingley, Private Detective<\/a><\/em>.<\/p>\n\n\n\n<p>The last few years have seen a surge in Austen-themed crime novels. One of the first of these was P. D. James\u2019s <em>Death Comes to Pemberley<\/em> (2011), in which Wickham, by then six years into his marriage to Lydia, is accused of the murder of his friend Denny. Since then, other authors have been drawn to reimagining Austen\u2019s characters as sleuths and detectives. In the Young Adult series <em>Jane Austen Murder Mystery<\/em> by Tirzah Price, Lizzie and Darcy \u2013 reimagined as competing solicitors \u2013 investigate a murder. In the <em>Mr Darcy &amp; Miss Tilney<\/em> series by Claudia Grey, it\u2019s the descendants of Lizzy and Darcy and Catherine and Henry from <em>Northanger Abbey<\/em> who investigate the mysterious death of Wickham himself. <a href=\"https:\/\/www.bars.ac.uk\/blog\/?p=6429\" data-type=\"URL\" data-id=\"https:\/\/www.bars.ac.uk\/blog\/?p=6429\" target=\"_blank\" rel=\"noreferrer noopener\">BARS spoke to Lucy Andrews <\/a>earlier this year, as she discussed transforming <em>Emma<\/em>&#8216;s Harriet Smith into a detective in her novel, <em>A Very Vexing Murder. <\/em>In novels like Jessica Bull\u2019s <em>Miss Austen Investigates<\/em> it\u2019s Austen herself who takes up the mantle and solves a murder. <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Lydia Bennet&#039;s dramatic entrance - Death Comes to Pemberley: Episode 1 Preview - BBC\" width=\"625\" height=\"352\" src=\"https:\/\/www.youtube.com\/embed\/BzezYWDb0zI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>P. D. James&#8217; <em>Death Comes to Pemberley <\/em>was also adapted into a BBC television programme in 2013. Well worth a watch!<\/figcaption><\/figure>\n\n\n\n<p>While the idea of the Austen crime novel might seem odd, crime and romance share some decided similarities. Both are highly structured genres that move towards a happy ending: in romance, the final union of the lovers, while in a crime novel, the detection of the criminal and the restoration of justice and the social order. Both romances and crime novels are often considered \u201ccosy\u201d, in that they guide readers through to the inevitable. The idea of a woman detective in the Regency period also doesn\u2019t stretch the imagination as much as we might assume. Sara Lodge\u2019s recent book, <em><a rel=\"noreferrer noopener\" href=\"https:\/\/yalebooks.co.uk\/book\/9780300286601\/the-mysterious-case-of-the-victorian-female-detective\/\" data-type=\"URL\" data-id=\"https:\/\/yalebooks.co.uk\/book\/9780300286601\/the-mysterious-case-of-the-victorian-female-detective\/\" target=\"_blank\">The Mysterious Case of the Victorian Female Detective<\/a><\/em>, shows how in a slightly later period there were cases of women working with the police and private agencies, some of which they managed themselves.<\/p>\n\n\n\n<p>Turning to crime allows authors of Austen reimaginings to inquire into aspects of her novels that Austen mentions but doesn\u2019t examine in detail. In our recent <a href=\"https:\/\/www.fromthelighthouse.org\/2026\/miss-caroline-bingley-private-detective-an-interview-with-kelly-gardiner\">interview with Kelly Gardiner<\/a>, she explained that the novel grew from her wish to explore how personality traits we see in Austen\u2019s characters could flourish under extreme circumstances. Caroline is rational, a quality that attracted Gardiner to her, and which made her wonder: how would that capacity for reason \u2013 believed by some at the time to be anathema to femininity \u2013 help her decide whom to trust or not to trust as she seeks to bring a murderer to justice? The scenario of a murder investigation allows us to explore the darker side of the Regency period as well as the ways in which Austen\u2019s beloved characters would hypothetically deal with this darker side.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/www.bars.ac.uk\/blog\/wp-content\/uploads\/image-80.png\"><img loading=\"lazy\" width=\"350\" height=\"529\" src=\"https:\/\/www.bars.ac.uk\/blog\/wp-content\/uploads\/image-80.png\" alt=\"\" class=\"wp-image-6607\" srcset=\"https:\/\/www.bars.ac.uk\/blog\/wp-content\/uploads\/image-80.png 350w, https:\/\/www.bars.ac.uk\/blog\/wp-content\/uploads\/image-80-198x300.png 198w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/a><figcaption>Kelly Gardiner and Sharmini Kumar, <em><a rel=\"noreferrer noopener\" href=\"https:\/\/kellygardiner.com\/fiction\/books\/fine-eyes\/\" data-type=\"URL\" data-id=\"https:\/\/kellygardiner.com\/fiction\/books\/fine-eyes\/\" target=\"_blank\">Miss Caroline Bingley, Private Detective<\/a><\/em> (Mills and Boon, 2025).<\/figcaption><\/figure><\/div>\n\n\n<p>The foray into crime also allows novelists to explore other aspects of Austen\u2019s world that exist at the margins of her novels. While Austen makes reference to the slave trade, empire and war, particularly in <em>Mansfield Park, <\/em>these allusions can easily be missed by the contemporary reader. However, crime novels can explore these elements of Regency society more fully, but within an entertaining framework that reminds readers of the pleasures of Austen\u2019s novels.<\/p>\n\n\n\n<p>In Gardiner\u2019s novel, Caroline finds herself looking over a dead body of an assassinated Indian servant in the rooms of a greasy inn and fighting for her life in the docks of London after uncovering a smuggling and murder plot. Austen\u2019s novels don\u2019t go there for a reason. Adaptations of her novels usually don\u2019t either. Take the recent season 4 of <em>Bridgerton<\/em>, in which we briefly see the interior of a (private) prison cell and a courthouse, only for the crime aspect of the storyline to be quickly discarded so that we can return to what we are all there for: the romance. The world of crime and punishment makes a quick appearance simply to generate some suspense before we return to the conclusion of the marriage plot. Yet, exploring the darker side just lurking underneath the poised respectability of Austen\u2019s drawing rooms allows us a peek inside a Regency world that was, in many ways, grimy, dangerous and criminal.<\/p>\n\n\n\n<p><strong>Rita Dashwood and Stephanie Russo <\/strong><\/p>\n\n\n\n<p><em>We gratefully acknowledge the seed funding awarded to Dr Dashwood by the Partnership between Macquarie University and Ghent University, which supported the project &#8216;Classic Literature and History in Modern Popular Culture Adaptations,&#8217; of which this article is an output.<\/em><\/p>\n\n\n\n<p><em>Dr Rita J. Dashwood is a literary scholar and historian of the eighteenth and nineteenth centuries specialising in women\u2019s literature and history. Her research is interested in how women have contested, negotiated, and shaped relationships to property and cultural heritage \u2014 tracing these dynamics across literary texts, historical archives, and their afterlives in popular culture. She is a Research Foundation \u2013 Flanders (FWO) Senior Postdoctoral Fellow at Ghent University. She is the author of the monograph&nbsp;<\/em>Women and Property Ownership in Jane Austen<em>&nbsp;(Peter Lang, 2022) and the duograph&nbsp;<\/em>Reading the Romantic Ridiculous<em>&nbsp;(Routledge, 2024), with Dr Andrew McInnes, and she is writing her third book,&nbsp;<\/em>The Heiress: Single Women and Inheritance in British Literature and History of the long Nineteenth Century<em>. You can follow Rita on <a rel=\"noreferrer noopener\" href=\"https:\/\/bsky.app\/profile\/rjdashwood.bsky.social\" data-type=\"URL\" data-id=\"https:\/\/bsky.app\/profile\/rjdashwood.bsky.social\" target=\"_blank\">BlueSky <\/a>and <a rel=\"noreferrer noopener\" href=\"https:\/\/www.instagram.com\/rjdashwood\/\" data-type=\"URL\" data-id=\"https:\/\/www.instagram.com\/rjdashwood\/\" target=\"_blank\">Instagram <\/a>via the links here. <\/em><\/p>\n\n\n\n<p><em>Stephanie Russo is an Associate Professor of Literature at Macquarie University, Sydney. She is the author of&nbsp;<\/em>The Anachronistic Turn<em>&nbsp;(Routledge 2024) and&nbsp;<\/em>The Afterlife of Anne Boleyn&nbsp;<em>(Palgrave Macmillan 2020). She is currently completing work on the monograph&nbsp;<\/em>Contemporary Counterfactual Fictions<em>, to be published by Brill in 2027. She is the Editor of the&nbsp;<\/em>Journal of Historical Fictions<em>&nbsp;and a series editor of Brill&#8217;s&nbsp;Global Historical Fictions&nbsp;series. She works on historical fiction and biofiction, and is particularly interested in women&#8217;s historical fictions, historical horror, and the afterlives of female writers and artists. You can follow Stephanie on <a rel=\"noreferrer noopener\" href=\"https:\/\/bsky.app\/profile\/did:plc:ce2b6znvxukqhlfpvl7x2zyx\" data-type=\"URL\" data-id=\"https:\/\/bsky.app\/profile\/did:plc:ce2b6znvxukqhlfpvl7x2zyx\" target=\"_blank\">BlueSky <\/a>and <a rel=\"noreferrer noopener\" href=\"https:\/\/www.instagram.com\/historicalfictionwithsr\/\" data-type=\"URL\" data-id=\"https:\/\/www.instagram.com\/historicalfictionwithsr\/\" target=\"_blank\">Instagram <\/a>via the links here. <\/em><\/p>\n\n\n\n<h1>&nbsp;<\/h1>\n","protected":false},"excerpt":{"rendered":"<p>It is a truth universally acknowledged that a Jane Austen fan will wonder what happens to her characters beyond the scope of the novels. When asked by her nieces and&#8230; <a href=\"https:\/\/www.bars.ac.uk\/blog\/?p=6606\">Read more &raquo;<\/a><\/p>\n","protected":false},"author":10,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":""},"categories":[23],"tags":[],"_links":{"self":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/6606"}],"collection":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6606"}],"version-history":[{"count":3,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/6606\/revisions"}],"predecessor-version":[{"id":6610,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/6606\/revisions\/6610"}],"wp:attachment":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6606"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6606"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6606"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}