Old Friends and New Fancies: An Imaginary Sequel to the Novels of Jane Austen (1913) is a novel by Sybil G. Brinton that is generally acknowledged to be the first sequel to the works of Jane Austen and as such the first piece of Austen fan fiction. It incorporates characters from each of Austen's six major novels into one unified story, alongside characters of Brinton's own invention. Keeping to the spirit of the source novels, its major theme is the difficulties faced by assorted pairs of lovers placed within the class structure of early 19th century Britain.

Old Friends an New Fancies (An Imaginary Sequel to the Novels of Jane Austen) It was a relief to Elizabeth to have fairly talked her husband into accepting the possibility of such an unwelcome turn of affairs, for events proved her misgivings to have been well founded. She had truly gauged the feelings of Georgiana and Fitzwilliam with regard to each other and to their engagement. Georgiana confessed, with deep distress and confusion, that she knew it was very ungrateful and naughty, but—she did not seem to be able to care for her cousin in that way, and would have said so before, but that she was afraid her brother and her aunt would be angry. Fitzwilliam admitted that he had long feared his inability to make his cousin happy, but showed how very great was his dread of causing her, by his defection, to be wounded, reproached, or unkindly talked about. Elizabeth had a difficult task to smooth away all obstacles and to bring comfort to the minds of two very troubled and scrupulous people, besides her other duty of persuading her husband that the separation was the right thing, and of shielding Georgiana from all disagreeables; but in a few days everything had been accomplished except what time alone could do. Darcy could not altogether conceal his regret and disappointment at this termination of his hopes, and Georgiana was miserable in the consciousness that he blamed her for not having known her mind at the beginning of the engagement. Had she really cared for Fitzwilliam, he was convinced that it must have gone on to a happy conclusion; and naturally his cousin could hardly be the one to uphold a different opinion. Fitzwilliam could only assert and reassert that Georgiana was undeserving of the slightest reproach, and endeavour to divert his cousin's attention to himself. It was arranged that he should accompany the Darcys as usual to Bath, where they were to meet Lady Catherine, and meanwhile Georgiana accepted an invitation from Jane and Mr. Bingley, which on a hint from Elizabeth was warmly extended to her, to go and stay with them at the same time at their house on the other side of Derbyshire.

This charming and original sequel to the novels of Jane Austen intertwines the lives of the most beloved characters from all six Austen novels with new characters of the author's devising. Inventive matchmaking leads numerous pairs of lovers through the inevitable and entertaining difficulties they must encounter before they are united in the end.

Austen After 200 explores our contemporary relationship with Jane Austen in the wake of the bicentenaries of her death and the first publication of her novels. The volume begins by looking at Austen’s popular appeal and at how she is consumed today in diverse cultural venues such the digisphere, blogosphere, festivals and book clubs. It then offers new approaches to the novels within various critical contexts, including adaptation studies, fan fiction, intertextuality, and more. Collecting these new essays in one volume enables a unique view of the crossovers and divergences in engagements with Austen in different settings, and will help a comparative approach between the popular and the academic to emerge more fully in Austen studies. The book gathers insights from a range of contributors invested in new reading spaces in order to show the creative ways in which we are all adapting as we continue to read Austen’s works.

This book uses the figure of the Victorian heroine as a lens through which to examine Jane Austen’s presence in Victorian critical and popular writings. Aimed at Victorianist readers and scholars, the book focuses on the ways in which Austen was constructed in fiction, criticism, and biography over the course of the nineteenth century. For the Victorians, Austen became a kind of cultural shorthand, representing a distant, yet not too-distant, historical past that the Victorians both drew on and defined themselves against with regard to such topics as gender, literature, and national identity. Austen influenced the development of the Victorian literary heroine, and when cast as a heroine herself, was deployed in debates about the responsibilities of the novelist and the ability of fiction to shape social and cultural norms. Thus, the study is as much, if not more, about the Victorians than it is about Jane Austen.

Originally published in 1949, the unusual plot takes the Darcys into the realm of the Gothic-perfect for fans of Death Comes to Pemberley. Mr. Darcy must appoint a new rector at Pemberley, which affords the author the opportunity to introduce a host of new characters to mingle with the beloved and familiar ones of Jane Austen. A delightfully witty plot, full of surprises: "Who could have foretold that Dr. Robinson, who had done nothing of note in all his lifetime should, by the common and natural act of dying, set in motion a train of events so strange, so startling, so far removed from probability as to emulate the riotous fancies of a disordered mind?" "The kind of story Jane Austen would have delighted to tell." -J. Donald Adams What readers are saying: "Really a great book and captures Austen's characters quite well. I was excessively diverted." "A very original plot." "A wonderful addition to Jane Austen's Pride and Prejudice sequels!"