More specifically, she learns to differentiate ‘real’ life from fiction, particularly the Gothic novels which constitute most of her library, though some practical problems do take on a rather Gothicized edge as the novel progresses. In both versions of Northanger Abbey, protagonist Catherine “Cat” Morland, a young woman, voracious reader, and teenage innocent gifted with a wild imagination (one which both aids and prevents true readings of the people around her), navigates her way through scenes of social unease, friendships and romantic relationships, and personal maturations. This reboot of a pseudo-satire of a system of Gothic interiority is an important examination of current reading trends it also reflects on past traditions and well-loved literary creations, as well as aspects of literary legacies both culturally-specific and universally important to constructions of identity. It stages a return to certain timeless aspects of cultural expression as a response to postmodern irony. Also, like its predecessors, this novel reflects a rising interest in the re-evaluation of literature as part of a post-postmodern revisionism. Like Death, the new Northanger is written by an author better known for her original crime novels, but who also remains faithful to the original source material. James, and reviewed for Criticks by Marina Cano-Lopez), Val McDermid’s Northanger Abbey, an updated take on the Jane Austen novel of the same name, is one of the more academically and critically interesting adaptations.

Hot on the heels of the BBC’s Death Comes to Pemberley (based on the novel by P.D. Since Seth Grahame-Smith’s Pride and Prejudice and Zombies, there have been numerous offerings of mash-ups, reboots and literary semi-piracy. The last few years have seen some bold re-imaginings.

Val mcdermid northanger abbey review