DOCSLIB.ORG

Read Ebook {PDF EPUB} Injury Time by Beryl Bainbridge Injury Time by Beryl Bainbridge

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} Injury Time by Beryl Bainbridge Injury Time by Beryl Bainbridge Read Ebook {PDF EPUB} Injury Time by Beryl Bainbridge Injury Time by Beryl Bainbridge. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 661310437b544a80 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Beryl Bainbridge. Dame Beryl Bainbridge, novelist, died on July 2nd, aged 77. IF THE words really wouldn't come, she would leave the house for a while. Squeezing past the stiff bulk of Eric, the stuffed bison, in the hall, she would creep down the bullet-pocked stairs and step out into Albert Street. The white Victorian terraces slumbered scruffily in the sun. If the blockage was not too severe she could sometimes cure it with a coffee and a cigarette at the Café Delancey, before they shut it down. Sometimes a stroll to smiling Germano at the Portuguese deli, to pick up her papers, would shake the plot into place. Or she could pop to the 99p Store in Camden High Street where she had once found, among the giant shampoo bottles and unseasonal Christmas decorations, a plastic model Cyberman exactly right for a grandchild. At night she wandered farther through North London's dark, mildly dangerous streets. Few passers-by could identify her then as Beryl Bainbridge, the famous novelist. She was as anonymous as in the days when she would charge out of her parents' house in Formby, near Liverpool, in much the same old belted mac and her school panama hat, a leggy 14-year-old heading for the shore and the arms of her German lover. She would set off whistling then, joyously abandoning the screams and tears of her family falling apart. Now she walked more deliberately, but with a bone- handled carving knife ready in her pocket. Friends often detected something furtive about her. That glance from under the untidy chopped fringe was bright as a bird's, flitting in an instant from fey to amused to aghast. That voice could be a raucous smoker's or light, fresh and prim, with the intonation of a girl who had gone to elocution lessons and knew to say “lounge”, not “front room”. At literary parties, tiddly in a trice, she could be the life and soul, mistaking the queen for Vera Lynn loudly and to her face, or inviting men to join her under the piano. But she also had a way of lingering near the edge. This was partly because she wanted a smoke, and was seeking a large aspidistra or an agent's well-tailored back to hide her. But it was also because she never thought herself important or worth attention. She produced 18 novels, almost all of them acclaimed. Yet she was perfectly happy with advances of £2,000 from Colin Haycraft at Duckworth, who was her friend. She never felt she deserved more, though her friends and her agent did. There had been far harder times, when she had spent her days sticking labels on wine bottles to earn enough to bring up three children single-handed. That pittance from her publisher forced her to make ends meet by trying journalism, which she enjoyed. Prizes helped: the Whitbread for “Injury Time” in 1977 and “Every Man for Himself” in 1996, the Guardian Fiction prize for “The Bottle Factory Outing” in 1974. Five times she made the shortlist for the Booker, Britain's most famous book award, but never won. Her friends were outraged; she couldn't have cared less. Her damehood pleased her, though it also perplexed her; with her stringy hair and liking for bare feet, she hardly played the part. No superfluous word. The books were not runaway bestsellers. Most of them did respectably. She had started them, after a mixed career on the northern stage, to try to make some sense of her family, her childhood and her struggling, messy, bawdy London life. When that seam was mined out, by the 1990s, she turned to historical fiction, tackling such subjects as Scott in the Antarctic (“The Birthday Boys”) or the Crimean war (“Master Georgie”). These sold better, and reinforced her fame. Her protagonists were now mostly men facing dreadful deaths, but the voice was still Beryl's, and the beady eyes were missing nothing: a horse's tail “dense as soot”, climbers falling on an ice slope “like flies fluttering against a window”, a jellyfish going out “like a candle” when it was pulled from the sea. This was the same Beryl who noticed, unsparingly, the spray of dead leaves used to decorate a Camden flat, the “sweet smell of decaying apples” from a dirty tablecloth, the slight slide of a body on a stretcher, or the way one heroine “pulled down the foot of her black stocking to cover her naked toe”. Nothing was safe from the most acute observer in the trade. In the lounge of her flat, piled to the ceiling with stuffed animals, tailor's dummies, Victorian etchings and plaster saints, she would receive visitors. The whisky flowed. Every object, she said, told a story. But the key to Beryl lay at the top of the house, beyond yet more stairs, up which she toiled determinedly even when her lungs were failing. This was where she wrote. The room was almost bare. It contained a very old, large computer and a small school desk, with bench attached. Here she typed until the early hours and, after typing, ruthlessly cut what she had written. Twelve pages of draft, she reckoned, would boil down to one in the finished manuscript. No superfluous word was allowed to survive. No sentence could leave her desk until all the “tum-te-tums” were right. Not chaos, but iron discipline, produced her books. That, and an awful lot of Camel Lights, drifting in thin smoke down Albert Street. This article appeared in the Obituary section of the print edition under the headline "Beryl Bainbridge" Dame Beryl Bainbridge. Our editors will review what you’ve submitted and determine whether to revise the article. Dame Beryl Bainbridge , in full Dame Beryl Margaret Bainbridge , (born November 21, 1932?, Liverpool, England—died July 2, 2010, London), English novelist known for her psychologically astute portrayals of lower-middle-class English life. Bainbridge grew up in a small town near Liverpool and began a theatrical career at an early age. (Sources differ on her birth year. Although Bainbridge believed it was either 1932 or 1934, her birth was reportedly registered in 1933.) She acted in various repertory theatres for many years before she published her first novel. Her work often presents in a comical yet macabre manner the destructiveness latent in ordinary situations. In A Weekend with Claud (1967), an experimental novel, the titular hero is a predatory, violent man. Another Part of the Wood (1968) concerns a child’s death resulting from adult neglect. Harriet Said (1972) deals with two teenage girls who seduce a man and murder his wife. Other novels in this vein are The Bottle Factory Outing (1974), Sweet William (1975), A Quiet Life (1976), and Injury Time (1977). In Young Adolf (1978), Bainbridge imagines a visit Adolf Hitler might have paid to a relative living in England before World War I. Winter Garden (1980) is a mystery about an English artist who disappears on a visit to the Soviet Union. Subsequent novels include An Awfully Big Adventure (1989; filmed 1995), The Birthday Boys (1991), Every Man for Himself (1996), Master Georgie (1998), and According to Queeney (2001). In addition to her fiction, Bainbridge wrote several television plays, and she published work that underscores what she considered the cultural and ethical disintegration of contemporary life. English Journey; or, The Road to Milton Keynes (1984) is a diary she kept in 1983 during the filming of a television series for the British Broadcasting Corporation (BBC). She also published Front Row: Evenings at the Theatre: Pieces from the Oldie (2005), a collection of reviews and other writings on theatre. Bainbridge was made Dame Commander of the Order of the British Empire (DBE) in 2000. This article was most recently revised and updated by Amy Tikkanen, Corrections Manager. Dame Beryl Bainbridge. She was educated at Merchant Taylors' School in Liverpool and worked as an actress at Liverpool Repertory Theatre. She was awarded a DBE in 2000. She wrote her first novel, Harriet Said , during the 1950s, although it was not published until 1972. Her first published novel, A Weekend with Claud , appeared in 1967 (revised edition 1981), and was followed by Another Part of the Wood (1968), and The Dressmaker (1973), adapted as a film in 1989. The Bottle Factory Outing (1974) won the Guardian Fiction Prize and Injury Time (1977) won the Whitbread Novel Award. An Awfully Big Adventure (1989) drew on her experiences as an actress working in Liverpool during the 1950s and was adapted as a film. Her later novels, based on real lives and historical events, include The Birthday Boys (1991), the story of Captain Scott's ill-fated Antarctic expedition; Every Man For Himself (1996), set on board the Titanic ; and Master Georgie (1998), chronicling a young surgeon's adventures during the Crimean War.
Load more

Recommended publications
  • Read Ebook {PDF EPUB} Harriet Said... by Beryl Bainbridge Harriet Said
    Read Ebook {PDF EPUB} Harriet Said... by Beryl Bainbridge Harriet Said... by Beryl Bainbridge. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 658fd7b0fc36c406 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Harriet Said... by Beryl Bainbridge. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 658fd7b37a518498 • Your IP : 188.246.226.140 • Performance & security by Cloudflare.
    [Show full text]
  • Beryl Bainbridge
    Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e letterature europee, americane e postcoloniali Tesi di Laurea FEMALE FRAILTY IN NOVELS BY BERYL BAINBRIDGE Relatore Ch. Prof. Enrico Palandri Laureando Giovanna Dotto Matricola 813508 Anno accademico 2011/2012 Anno Accademico 2011 / 2012 List of contents Introduction ...................................................................................................................i Beryl Bainbridge: life and works ..................................................................................1 Objectification, frailty, and sexuality ............................................................................9 Novels.........................................................................................................................22 Another Part of the Wood ...............................................................................23 The Dressmaker .............................................................................................35 Injury Time ......................................................................................................49 Every Man for Himself .....................................................................................63 According to Queeney ....................................................................................76 The Girl in the Polka-dot Dress .......................................................................88 Conclusions .............................................................................................................100
    [Show full text]
  • Of Virginia Woolf: a Comparative Study of Selected Novels by 20Th Century British Women Writers
    IN THE “SHADOW” OF VIRGINIA WOOLF: A COMPARATIVE STUDY OF SELECTED NOVELS BY 20TH CENTURY BRITISH WOMEN WRITERS BY DEVI A/P ARUMUGAM A dissertation submitted in fulfilment of the requirement for the degree of Doctor of Philosophy in English Literary Studies Kulliyyah of Islamic Revealed Knowledge and Human Sciences International Islamic University Malaysia APRIL 2016 ABSTRACT Virginia Woolf’s A Room of One’s Own (1928) and Three Guineas (1938) are considered by many critics as pioneer works which are instrumental in formulating feminist literary criticism. Being discontented with gender inequality imposed on women by patriarchy, her female-centric views on emancipation of women are pertinent in those two works. This thesis recognises Woolf for raising the issues of women’s empowerment and presenting provoking thoughts on the need for the emancipation of women. Woolf envisages a future society in which women are able to function as equals of men. This research attempts to examine the influence of Virginia Woolf’s feminist thoughts in selected works by three contemporary British women writers: Beryl Bainbridge, A.S. Byatt, and Margaret Drabble. This research uses Woolf’s two texts as the analytical framework to examine the extent to which the selected writers echo the concerns, complaints and complexities of feminist issues raised by Woolf decades ago. This research exposes the obstructions, constraints, and challenges women have to face to be in the public front. It also charts the gradual changes in the traditional values upheld by women for more than half a century after Woolf’s advocacy of female-centric issues on both the domestic and public front.
    [Show full text]
  • 11 Bibliography.Pdf
    BIBLIOGRAPHY A. PRIMARY SOURCES: 1. A Weekend with Claude, Hutchinson, London, (1967). 2. Another Part of the Wood, Hutchinson, London, (1968). 3. Harriet Said, Duckworth, London, (1972). 4. The Dressmaker, Duckworth, London, (1973). 5. The Bottle Factory Outing, Duckworth, London, (1974). 6. Sweet William, Duckworth, London, (1975). 7. A Quiet Life, Duckworth, London, (1976). 8. Injury Time, Duckworth, London, (1977). 9. Young Adolf, Duckworth, London, (1978). 10. Winter Garden, Duckworth, London, (1980). 11. Watson’s Apology, Duckworth, London, (1984). 12. English Journey, Duckworth, London, (1984). 13. Forever England, Duckworth, London, (1985). 14. Filthy Lucre, Duckworth, London, (1986). 132 15. An Awfully Big Adventure, Duckworth, London, (1989). 16. The Birthday Boys, Duckworth, London, (1991). 17. The Dolphin Connection, Duckworth, London, (1991). 18. Every Man For Himself, Duckworth, London, (1996). 19. Master Georgie, Duckworth, London, (1998). 20. According to Queeney. Duckworth, London, (2001). B. SECONDARY SOURCES: I. Books 1. Bentley, Nick ed: British Fiction of the 1990s. Routledge, Abington, England, 2000. 2. Blamires, Harry ed: A Guide to 20 th Century Literature In English. Taylor and Francis, London, 1983. 3. Carter, Ronald and John Mcrae: The Routledge History of Literature In English, Britain and Ireland. Routledge. Abington, England, 1985. ■ r • •• # J* 133 4. Drabble, Margaret and Jenney Stringer ed: The Concise Oxford Companion to English Literature. Oxford University Press, London, 1987. 5. English, James F.: A Concise Companion To Contemporary British Fiction. Blackwell, Oxford, 2006. 6. Gayl, Jones: Contemporary Literary Criticism: Bainbridge Beryl (Vol.131) 7. Grubisic, Brett Josef: Understanding Beryl Bainbridge. University of South Carolina Press, Washington, 2008. 8. Head, Dominic: The Cambridge Introduction to Modem British Fiction.
    [Show full text]
  • May Be Xeroxed
    CENTRE FOR NEWFOUNDLAND STUDIES TOTAL OF 10 PAGES ONLY MAY BE XEROXED (Without Author's Permission) \ BERYL BAINBRIDGE AND HER NOVELS by Elizabet h Mackey, B. A. A Thesis submitted in partial .fulfillment o£ the requirements £or the degree o£ Master o:f Arts Department o£ English language and Literature Memorial University o£ Newfoundland August 19S2 St. John ' s Newfoundland ACKNOWLEDGEMENTS I extend my sincere thanks and appreciation to my supervisor, Dr. G. Jones for his pro£essional advice and guidance which he has administered punctually with unfailing courtesy, patience and good humour. Thanks to Joe, John, and the rest of the family for support and forbearance. iv TABLE OF CONTENTS Page Abstract • • • • • • • • • • • • • • • • • • ii Acknowledgements • • • • • • • • • • • • • • iv INTRODUCTION • • • • • • • • • • • • • • • 1 CHAPTER I . A WEEKEND \VITH CLAUD • • • • • • • 20 II. ANOTHER PART OF THE WOOD • • • • • 43 III. HARRIET SAID ••• • • • • • • • • • 67 IV. THE DRESSMAKER • • • • • • • • • • 83 v. THE BOTTLE FACTORY OUTING • • • • • 105 VI. SWEET WILLIAM • • • • • • • • • • 121 VII. A QUIET LIFE • • • • • • • • • • 141 VIII. INJURY TIME • • • • • • • • • • 160 IX . YOUNG ADOLF • • • • • • • • • • 178 x. WINTER GARDEN • • • • • • • • • • 201 XI. GENERALITIES • • • • • • • • • • 217 BIBLIOORAPHY • • • • • • • • • • • • • 237 v 1 INTRODUCTION Beryl Bainbridge was born in Liverpool, Lancashire, on 21 November 1934, daughter of Richard Bainbridge and Winifred Baines. She was educated at Merchant Taylor' s School in Crosby and Arts Educational Schools Limited in Tring Her tfordshire. An actress at repertory theatres in Liverpool, Windsor, Salisbury, Wiltshire, London and Dundee, she performed in such pieces as Tiptoe through the Tulips, The Warrior' s Return and It ' s a Lovely Day Tomorrow. In 1954, she married Austin Davies, a scenery painter from her acting days, whom she divorced in 1959.
    [Show full text]
  • Conexiones Literarias Interculturales: Tratamiento Cómico De La Violencia En Beryl Bainbridge Y John Hawkes
    CONEXIONES LITERARIAS INTERCULTURALES: TRATAMIENTO CÓMICO DE LA VIOLENCIA EN BERYL BAINBRIDGE Y JOHN HAWKES María Antonia Álvarez U N E D Since World War II British and American writers, disenchanted with tradition, have created works that reject the boundaries set forth by those traditions. They see the modern world so fragmented and chaotic that it can no longer be described by the ordered conventions. But if contemporary fiction is apocalyptic and disruptive, its comic treatment of violence has produced a complex tone in which the comic vision is used to suggest hope. Two of the truly gifted writers in the so- called black humor, or comic treatment of violence, are the American John Hawkes and the British Beryl Bainbridge. The comic mode in their novels is closely related to the centrality of death, and this combination explains the attraction-repulsion antithesis of our response to their major characters. Desde la Segunda Guerra Mundial tanto los escritores británicos como los norteamericanos, desencantados de la tradición, han creado obras que rechazan los límites establecidos. Ven el mundo moderno tan fragmentado y caótico que no pueden seguir describiéndolo con las convenciones creadas. Pero si la ficción contemporánea es apocalíptica y disruptiva, su tratamiento cómico de la violencia ha producido un tono complejo en el que la visión cómica se usa para sugerir esperanza. Dos de los mejores escritores del llamado humor negro son John Hawkes y Beryl Bainbridge. La forma cómica de sus novelas está estrechamente relacionada con la centralidad de la muerte, y esta combinación explica la antítesis atracción-repulsión que producen sus protagonistas.
    [Show full text]
  • Mª Antoniaálvarez Calleja Inversión De Las Relaciones Individuo-Sociedad: Lafórmula Irónica De
    MªAntoniaÁlvarez Calleja Inversión de las relaciones individuo-sociedad: Lafónnula irónica de... 17 Inversión de las relaciones individuo-sociedad: La fórmula irónica de Beryl Bainbridge Mª Antonia Álvarez Calleja U.N.E.D. The novels of Beryl Bainbridge do not simply convey the tragedy and ironies of life and the shortcomings of human beings and culture, but also work in more intricate ways to make the reader aware of the complexity of perceptions of reality. The pessimistic quality which is conveyed through suffering, frustration and misfortune is balanced by the implicit indications of the possibility of changes; there is no solution offeredto the problem of the actual as entrapment, separation or isolation, but there is a suggestion that the ideal seen as collective interdependency and transcendence would serve as a more beneficia! mediation of contradictions, tuming entrapment into acceptance of dependency and separation into accepted independency. l. INTRODUCCIÓN En el mundo de Beryl Bainbridge se produce una inversión de las expectativas convencionales debido a los cambios que se han ido produ­ ciendo en la literatura inglesa después de la segunda Guen-a Mundial, de tal manera, que las relaciones familiares, las instituciones sociales y los vínculos humanos no pueden ofrecer ya la misma guía, apoyo o seguri­ dad. Sus originales relatos necesitan, al menos, una segunda lectura para poder comprender todas las sugerencias de un lenguaje cargado de significados.Usa motivos y convenciones de la novela realista y de la comedia negra, huyendo de los experimentos formales y de los elementos fantásticos para centrarse en la descripción de fuertes conflictos inespera­ dos y confusiones tragicómicas, principalmente entre la clase trabajadora de Liverpool y Londres.
    [Show full text]
  • 07 Chapter 1.Pdf
    1 CHAPTER ONE INTRODUCTION Beryl Margaret Bainbridge is one of the highly influential British novelists in the contemporary British literature. She is probably the most widely recognized living woman writer in Great Britain. Her novels have wide range of subjects. Beginning writing at the age of just nine, she has become the Dame of British Empire. She has tried to portray middle-class and lower-middle-class morality in her novels. She is an entertaining and insightful observer of human condition. Beryl Bainbridge falls in the category of the realistic writers. She has enormous respect for the objects, particularly those with the past. Her earlier works deal with her own childhood experiences in Liverpool countryside whereas her later writings deal with some of the great historical figures. Her autobiographical writings are quite entertaining. As a result she has been recognized as one of the assets of Great Britain. A] LIFE-SKETCH OF BERYL BAINBRIDGE: Beryl Margaret Bainbridge was bom on November 21, 1934 in i Liverpool, England to Winifred Baines and Richard Bainbridge. Beryl’s childhood was decidedly unhappy. Her father was a 2 commercial traveller, who went in eventual bankruptcy. Her mother had married him years before when he was wealthy. Beryl’s mother lived her life in a romantic fashion. There was a continual state of quarrelsome atmosphere in the family. As a result Beryl was irritated by the unstable and unhealthy atmosphere at home. She used to escape to the shore to get relief from the rigid interrelations at home. She didn’t get love and affection from her parents in her childhood days.
    [Show full text]