For everyone who loves Jane Austen . . . a marvelously entertaining new series that turns the incomparable author into an extraordinary sleuth!
On a visit to the estate of her friend, the young and beautiful Isobel Payne, Countess of Scargrave, Jane bears witness to a tragedy. Isobel's husband—a gentleman of mature years—is felled by a mysterious and agonizing ailment. The Earl's death seems a cruel blow of fate for the newly married Isobel. Yet the bereaved widow soon finds that it's only the beginning of her misfortune . . . as she receives a sinister missive accusing her and the Earl's nephew of adultery—and murder. Desperately afraid that the letter will expose her to the worst sort of scandal, Isobel begs Jane for help. And Jane finds herself embroiled in a perilous investigation that will soon have her following a trail of clues that leads all the way to Newgate Prison and the House of Lords—a trail that may well place Jane’s own person in the gravest jeopardy.
Praise for Jane and the Unpleasantness at Scargrave Manor
“There’s plenty to enjoy in this crime-solving side of Jane. . . . [She] is as worthy a detective as Columbo.”—USA Today
“Happily succeeds on all levels: a robust tale of manners and mayhem that faithfully reproduces the Austen style—and engrosses to the finish.”—Kirkus Reviews
“Splendid fun!”—Star Tribune, Minneapolis
With this series opener, Barron catches the Jane Austen popularity wave with impeccable timing--but that may be the best that can be said of this debut. Purportedly editing Austen manuscripts found in an old Maryland estate, Barron recounts the suspicious death of the elderly Frederick Payne, Earl of Scargrave. Anonymous notes accuse Isobel, Austen's friend and Payne's young bride, and a "grey-hared Lord" of murdering the earl. Intensifying Isobel's misery is Lord Harold Trowbridge, who badgers the widow to sell him her estate in Barbados. Concerned for her friend and for Fitzroy Payne, the new earl who not-so-secretly loves Isobel, Austen undertakes snooping that leads her to a second corpse and leads Isobel and Fitzroy to trial before the House of Lords. As Austen explores a passel of suspects who are heavy-handedly cast as the originals for the characters in her novels, the reader is offered imitation scholarly footnotes. To be truly helpful, Barron might have better explained how Austen hears Big Ben, a bell cast some 40 years after her death. Austen as mystery writer is an appealing idea, but inadequately served here. Author tour.