A Sense & Sensibility Sequel Starring Margaret Dashwood - an Editorial Review of "A Return to Norland"

Book Blurb:

Margaret Dashwood, the youngest sister of Elinor and Marianne Dashwood, has grown up in the shadows of her two siblings, and is thought by her family, when we first observe her in Sense and Sensibility at the tender age of thirteen, to be ‘a good humoured well-disposed girl; but as she had imbibed a good deal of Marianne’s romance, without having much of her sense, she did not, at thirteen, bid fair to equal her sisters at a more advanced period of life.’

But Margaret has been much underestimated by her family. She has blossomed into young woman of greater worth than she had been given credit for, although outside her immediate family she is admired mostly for her beauty. Naïve and innocent, she has an untouched country freshness that is pleasing to her family and friends. That is, until she is invited to Norland Park by John and Fanny Dashwood, and is thrust into London’s fashionable and sometimes aggressively consumerist society for the winter season. It is here that she is forced into ‘a better knowledge of the world’, as Colonel Brandon terms it, and indeed, a better knowledge of herself.

It is here, too, that she meets the charismatic and cosmopolitan Charles Ambrose, whose knowledge and experience fascinate her. Torn between two worlds, and two suitors, Margaret is confronted by secrets that threaten the very core of her beliefs. Forced to make decisions that will forever change her future, and that of her family, she must draw on all her resources to navigate the new world in which she finds herself.

A Return to Norland is a coming of age story but it also takes a look at the lives of those we left five years ago, at the end of Sense and Sensibility, as well as many of the characters we have known and loved from Austen’s original novel. This sequel novel will take readers on a journey of discovery as we watch Margaret, Elinor and Marianne find their way back to the peace and happiness they once treasured, long ago, at Norland Park, and will haunt readers long after turning the final pages.

Book Buy Link: https://geni.us/XS0NIJf

Author Bio:

Kate Westwood is the author's pseudonym. Kate has a background in academic writing and editing, and holds a Master's degree in English Literature. Having had a life-long dream to write, she finally turned her pen to regency romance after finding that nothing she was reading satisfied her thirst for authentic and believable regency stories. A huge fan of Austen and her contemporaries, and Georgette Heyer, she strives to recreate that same authentic feeling for the reader.

Kate lives on the Gold Coast of Australia with her three teen sons, one feline fur-baby, a family of tame crows, and other assorted urban wildlife! When she is not writing, she loves to play piano, walk and hike the beautiful Gold Coast hinterland, and travels whenever she can. She loves to hear from readers so please email her with your comments and questions!

Editorial Review:

4.5 STARS!

Kate Westwood's "A Return to Norland" is a novel set against the verdant backdrop of early nineteenth-century England. It is a literary sequel to Jane Austen's "Sense and Sensibility," revisiting the Dashwood family through a seamless blend of romantic drama, social satire, and moral reflection. This book's focus leans towards the youngest sister, Margaret Dashwood, who now on the cusp of adulthood yearns to escape the provincial confines of Barton Cottage and embark on a grander, more worldly existence, an ambition that gets realized through a surprise invitation from her half-brother John Dashwood and his perpetually scheming wife, Fanny. Her journey is also cleverly used to frame a more mature exploration of the very institutions she views from a distance. Additionally, the tale explores her sister Marianne's post-honeymoon marital crisis which is fraught with depression, miscommunication, and the strain caused by the introduction of an illegitimate son into their household. 

"It seems that all the world wants me to conform to something I am not!’ ‘I don’t mind pleasing someone, so long as it pleases me to be pleasing!’ she teased. ‘If being married means I must become someone quite different, then I confess I shall not like it very much! Oh, I do so detest the feeling of being laced up into my stays, confined by clothing! What a life those young ladies of society must lead, always being confined by boots and hats and gloves and stockings, just to please the gentlemen! I cannot see what my sisters find so appealing in it!’‘I shall never meet a gentleman that I like well enough to wear stays for!’ remarked Margaret airily. ‘Or at least, I shall avoid the ones I like at all costs, for I detest stays—dreadful uncomfortable things! Surround me with horrid, boring gentlemen, and I promise you, I shall be quite content!’"

This is a moment of light domestic conversation that occurs early in the story, and one that plants the seed of the entire novel's conflict- Margaret's resistance to social confinement and untamable yearning for independence. Here, her spirited, rebellious, and witty nature crystallizes. She is positioned in contrast to her two sisters, who have already conformed to society's expectations of marriage and decorum. The line "It seems all the world..." declares her a heroine of individuality, while the line, which fuses irony and self-awareness, "I don't mind pleasing someone..." positions her as both within and outside her social milieu. This passage uses exclamation marks that mirror youthful energy and impetuousness, and longer flowing sentences that mimic her stream of thought while also emphasizing passion, enthusiasm, and an unfiltered temperament. 

"Marianne had been grateful to have had Margaret’s help since six-year-old William had come to live with them, for it took all her time just managing two lively girls and an infant son. At the ages of three and two years, and with all the help a nursemaid could provide, she still found the older children, Eloise and Clara, demanding her time when she also had the household to manage. As patroness of Delaford, she had found that the many new duties as “Mrs Philip Brandon” had at first set her head to a spin!... A certain lowness of spirits had been creeping upon her for some weeks now, so that when the children were taken away for an hour or so, she rejoiced at the chance to lie upon her bed or the sofa just for a few minutes of rest. And then, William’s arrival after the sudden death of Brandon’s ward, Miss Williams, had meant that Marianne had ever more cares to fill her time."

This passage is far more than a background description; it is the crucial narrative foundation that actively propels the plot, justifying Marianne's subsequent withdrawal, creating the central internal and marital conflicts, and raising the stakes by revealing the profound strains hidden beneath the surface of her seemingly secure marriage, all while showcasing Westwood's profound understanding of character and psychological realism. Here, it is clear that she is no longer the passionate, free-spirited girl but an overburdened wife and mother whose sadness is directly linked to her domestic circumstances. Through long, cumulative sentences that pile clause upon clause- "managing two lively girls," running "the household," fulfilling duties as "patroness of Delaford"- the author grammatically mirrors the relentless accumulation of responsibilities that have supplanted Marianne's former passionate existence. Westwood’s diction is equally precise and devastating, charting a sinister transformation where a "certain lowness of spirits" begins "creeping upon her," a phrase whose insidious verb choice brilliantly conveys the involuntary, depressive state steadily eclipsing her vibrant spirit. The tragic inversion of her character is perfectly crystallized in the poignant observation that she now "rejoiced at the chance to lie upon her bed," a line that speaks volumes about her profound depletion, making the reader who remembers the fiery girl from Sense and Sensibility feel a deep sense of sympathy and loss. 

‘I am sure you will have many awaiting you by the time you return home.’ Ambrose turned gently to Margaret. ‘You will find the whole of London never sleeps, Miss Dashwood—it is a dreadfully singular habit of the London crowd—there is so much to keep them from their beds! They are out from nine or ten in the evening, until five or six in the morning, go home and sleep for three hours, get up for breakfast, go out to parade, and then begin the whole process over again! You must get used to always being tired, I’m afraid!’

This piece of dialogue is a crucial moment of world-building where Margaret's adventure becomes a tangible, alluring reality, while simultaneously introducing a new and potentially dangerous dynamic. It begins with a confident assertion that places her in the center of a hypothetical social whirlwind. The London description uses run-on sentences that tumble out without pause, creating a sense of exhilarating exhaustion. This passage also introduces a type of man Margaret never encountered before. His words establish him as a figure of glamour, directly contrasting with the "horrid, boring gentlemen" she had claimed to want. To the reader, a mixture of excitement and trepidation is expected to arise from here and to make them question the speaker's motives- whether he is genuine or just amused at a seemingly young and innocent young woman whom he can charm. This compelling dynamic also raises a tantalizing question- will he be the one to shatter Margaret's fierce independence and reshape her wary view of men and marriage?

Kate Westwood's "A Return to Norland" is a triumphant and deeply satisfying coming-of-age tale that stands as a worthy heir to Jane Austen's legacy. Westwood doesn't just revisit the hallowed halls of Austen's world, nor does she repeat Austen's themes; rather, she masterfully and lovingly expands them, gifting the wonderfully spirited and perceptive Margaret Dashwood a journey that is both exquisitely true to the Regency period and brimming with a freshness that will captivate modern readers. 

With a plot that deftly intertwines Margaret's exhilarating and at times perilous entry into the glittering whirl of London society with the raw, emotionally charged turmoil of her sister Marianne's seemingly idyllic marriage, Westwood demonstrates a profound understanding of her source material. She delves beyond the "happy ever after" to explore the poignant and realistic complexities of marriage, motherhood, and mental strain with a sensitivity that is both brutal and beautiful. 

This is more than a sequel. It is a rich, standalone saga that celebrates female resilience, examines the intricate costs of love and duty, and delivers all the wit, elegant romance, and sharp social intrigue that devoted Austen fans demand, while simultaneously forging a bold and compelling new path for one of literature's most beloved families. This book will pique the interest of readers who love the glamour, drama, and strict rules of Regency London and country estates. Additionally, those who prefer a story that delves into the emotional lives and continued development of beloved Jane Austen's characters will not want to miss it.

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