From Jane Austen to Charles Dickens
This post was originally written for the austenprose.com website, run by Austen enthusiast, Laurel Ann Nattress.
The last time I wrote a piece for Laurel Ann it was because I had just written Murder at Mansfield Park; I’m back now to help celebrate Dickens’ 200th birthday because I’m just about to publish a new murder mystery, inspired by his great masterpiece, Bleak House.
It’s a very long way from the elegant ambience of Regency country houses, to the dark and dirty world of Victorian London, so why did I decide to make the move from Jane Austen to Charles Dickens? And having made that decision, what challenges did I face?
The first thing I realised was that I didn’t want The Solitary House/Tom-All-Alone’s to be the same sort of book as Murder at Mansfield Park. In the latter I had worked very hard to mimic Jane Austen’s beautiful prose style, rigorously checking my vocabulary to ensure it was in use at the time, and replicating the special rhythm of her sentences. But I knew at once that I didn’t want to do the same thing with Dickens. His style is almost as distinctive as hers, but I suspected any attempt to pastiche it would descend very quickly into parody.
Likewise I made the conscious decision not to even attempt to cram in everything Dickens does – his books are astonishingly broad in their scope, with comedy and satire at one extreme, and drama and psychological insight at the other. I’ve always been more interested in the latter than the former, and I confess I do find his caricatures rather tiresome in some of the novels. So by now I was clear: I wanted to write a book inspired by Dickens, but ‘darker than Dickens’, with no comedy, no caricatures, and in a voice of my own.
The result is a book that runs in parallel with the events of Bleak House, with some of Dickens’ characters appearing in mine, and the two stories coming together and intersecting at crucial moments. Bleak House is, of course, the very first detective story in English, with the first fictional detective, Inspector Bucket. He appears in my story too – my young detective, Charles Maddox, was once fired from the Metropolitan Police at Bucket’s insistence, and their paths cross again as Charles’ investigation deepens.
Anyone who’s read Murder at Mansfield Park, will recognise the name ‘Charles Maddox’ at once, but we’re now in 1850, not 1811, and this new Charles Maddox is actually the great-nephew of my original Regency thief taker. Old Maddox appears in the book as well, but he’s now an elderly man, and suffering from a disease that we recognise at once as Alzheimer’s, but which was unknown at the time. But when Maddox has lucid periods he is still one of the sharpest minds in London, and Charles will need all his help if he’s to unravel the terrible secret at the heart of this sinister case.
One of the great delights – and challenges – of writing The Solitary House/Tom-All-Alone’s was to go back and re-create Dickens’ London. As many people have said, London is not just a setting in Dickens’ novels, but a character in its own right, and I had the opportunity to be even more forthright about the realities of life in the city than Dickens was able to be. We know far more, in some ways, that Dickens’ middle class contemporaries did, and I’ve tried to bring the 19th
century city to life in all its splendour, all its sin, and all its stink.
Of course many of us owe our mental pictures of Victorian London to the screen adaptations of Dickens’ works, and he does translate particularly well to film and TV. The BBC aired a new – and I think excellent – version of Great Expectations this Christmas, with Gillian Anderson as a chillingly beautiful and aloof Miss Havisham. There was also a new adaptation of Drood, with a new ending, and some wonderfully atmospheric scenes. There are many other excellent BBC adaptations of the books, and I’m also a great fan of the 1998 Our Mutual Friend, which has a marvellously intense Bradley Headstone, as played by David Morrissey, but my favourite – perhaps unsurprisingly – is the 2005 Bleak House.
Once again Gillian Anderson is utterly convincing and impressive as Lady Dedlock, and she’s supported by a wonderful cast of British character acting at its best. My only quibble is the choice of actor to play Tulkinghorn, as Charles Dance (in my view) is far too young, attractive, and just plain tall, to play the wizened old lawyer I have in my own imagination.
The other fascinating thing about that Bleak House adaptation was that it was deliberately constructed in half-hour episodes, thereby mimicking the ‘serial publication’ of the original novel. It was a brilliant coup to screen it that way, since it helps us understand how Dickens structured his story with cliff-hangers at the end of each ‘number’, to keep people coming back for more.
And, of course, they did. And they still do, even 200 years after he was born, whether as readers, viewers, or – in my case – writers inspired by his great genius to create something new of their own.