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Interview Summary Sheet Project: Memories of Fiction: an Oral History of Readers’ Lives
Interview Summary Sheet Project: Memories of Fiction: An Oral History of Readers’ Lives Reference No. Interviewee name and title: Jean and Stuart Wynn Interviewee DOB and place of birth: March 1955, Hammersmith (JW), 31st December 1988, Roehampton (SW). Interviewee Occupation: Office work/teaching assistant (JW); Librarian (SW) Book group(s) attended: Roehampton Date(s) of recording: 4th December 2014 Location of recording: Wandsworth Interviewer: Amy Tooth Murphy Duration(s): 02.05.00 Summariser: Alison Chand Copyright/Clearance: Key themes: Family, disability, education, arts and crafts, work, Scandinavian literature, role of libraries, community, community groups, class. All books mentioned (those discussed for >20 seconds in bold): The Silkworm, The Cuckoo’s Calling, Saturday Shillings, Play Hour magazine, Janet and John, Topsy and Tim, The Valley of the Dolls, The Other Side of Midnight, Falling Angels, Girl with a Pearl Earring, The Help, The Little Stranger, The Thirteenth Tale, Scoop, Emma, Bleak House, The BFG, Matilda, Spot the Dog, There’s No Such Thing As A Dragon, Sam Sparrow, James and the Giant Peach, Alice in Wonderland, The Wind in the Willows, Harry Potter, The Animals of Farthing Wood, The Hobbit, The Chronicles of Narnia, Winnie the Pooh, Fair Play, Moomin, The Dangerous Journey, Pingu, Finn Family Moomintroll, Pippi Longstocking, Little Women, The Little Tinkers, The Catcher in the Rye, Franny and Zooey, Raise High the Roof Beam, Carpenters and Seymour, For Esme with Love and Squalor, Nine Stories, The Pearl, The -
Garden Paths and Blind Spots
LUCIE ARMITT ON SARAH WATERS’S THE LITTLE STRANGER Garden Paths and Blind Spots When I interviewed Sarah Waters in 2006, I reminded her of an attempt I had made on our first meeting to try and ‘claim’ her as a Welsh Writer. Though now residing in London, she was, of course, born in Pembrokeshire, and I continue to hope to see her to reflect on that aspect of her identity in her fiction. Her response, however, was candid: ‘I love London precisely because I have come to it from a small town in Pembrokeshire – which was a great place to grow up in, but London seemed to me to be the place to go to perhaps slightly re-invent yourself, or to find communities of people – in my case, gay people – that you couldn't find at home.’ 1 In her new novel, The Little Stranger , she does not return to Wales, but she does return to the countryside, setting the novel in the rural Warwickshire village of Lidcote, near Leamington Spa. Waters has, of course, established herself as a writer of lesbian historical fiction and has self-consciously situated her work within a lesbian literary tradition. In the months and weeks prior to the publication of The Little Stranger rumours circulated, allegedly prompted by Waters herself, that there were to be no lesbian characters in it and, indeed, at first sight there are not. The Little Stranger is set just after the end of the Second World War and just before the introduction of the National Health Service in 1948, therefore taking up where the 1947 section of her previous novel, The Night Watch (2006), ends. -
The Paying Guests by Sarah Waters ______
The Paying Guests by Sarah Waters __________________________________________________________________________________________ About the author: Sarah Waters is the bestselling author of five previous novels: Tipping the Velvet, Affinity, Fingersmith, The Night Watch; and The Little Stranger. Winner of many literary awards, she has been shortlisted for both the Man Booker and Orange Prizes. She lives in London. Source: Publisher’s website (http://penguinrandomhouse.ca/) About this book: The year is 1922, and London is tense. Ex-servicemen are disillusioned, the out-of- work and the hungry are demanding change. In South London, in a large silent house now bereft of brothers, husband, and even servants, life is about to be transformed, as Mrs. Wray and her daughter Frances are obliged to take in lodgers. With the arrival of Lilian and Leonard Barber, the routines of the house and the lives of its inhabitants will be shaken up in unexpected ways. And as passions mount and frustration gathers, no one can foresee just how far, and how devastatingly, the disturbances will reach. In this psychological and dramatic tour-de-force, beloved international bestseller Sarah Waters proves once again that her eye for the telling details of class and character that draw people together as well as tear them apart is second to none. Source: Publisher’s website (http://penguinrandomhouse.ca/) March 2016 Discussion Questions: 1 If you’ve read other novels by Sarah Waters, how do you feel this fits into her existing work? What similarities and differences did you notice? 2. How do you think Sarah Waters deals with questions of morality in The Paying Guests? 3. -
Libraryreads September 2014
SMOKE GETS IN YOUR EYES TOP ! And Other Lessons from the Crematory PICK by Caitlin Doughty (W. W. Norton & Company) “Part memoir, part exposé of the death industry, and part instruction manual for aspiring morticians. First-time author Doughty has written an attention-grabbing book that is sure to start some provocative discussions. Fans of Mary Roach’s Stiff and anyone who enjoys an honest, well-written autobiography will appreciate this quirky story.” —Patty Falconer, Hampstead Public Library, Hampstead, NH The top ten books published this month that librarians across the country love. SEPTEMBER 2014 STATION ELEVEN THE SECRET PLACE ROOMS A Novel A Novel A Novel by Emily St. John Mandel by Tana French by Lauren Oliver (Knopf) (Viking Adult) (Ecco) “An actor playing King Lear “French has broken my heart “A family comes to terms dies onstage just before a yet again with her fifth novel, with their estranged father’s cataclysmic event changes the which examines the ways in death in Oliver’s first novel future of everyone on Earth. which teenagers and adults for adults. Told from the What will be valued and what can be wily, calculating, and perspective of two ghosts will be discarded? Will art have backstabbing, even with their living in the old house, this a place in a world that has lost friends. The tension-filled unique story weaves so much? What will make life flashback narratives, relating characters and explores worth living? These are just some of the issues to a murder investigation in suburban Dublin, will keep their various past connections. -
Exorcising the Past: History, Hauntings and Evil in Neo-Gothic Fiction
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) Exorcising the Past: History, Hauntings and Evil in Neo-Gothic Fiction A thesis submitted in fulfilment of the requirements for the degree of Masters of Arts at Rhodes University by Karlien van der Wielen January 2016 Supervisor: Professor Samantha Naidu Abstract This thesis explores the conventions of both historical and Gothic fiction in order to investigate what seems to be a recurrent impulse to exorcise the past in what I define as contemporary Neo-Gothic fiction. It therefore attempts to establish a distinction between Neo-Gothic fiction and other forms of contemporary Gothic fiction by focusing on the treatment of history, the supernatural and the grand narrative of progress in three contemporary Gothic novels: The Little Stranger by Sarah Waters, The Historian by Elizabeth Kostova and The Accursed by Joyce Carol Oates. This thesis argues that the most potent manifestation of history can be found in the representation of the revenant in Neo- Gothic fiction, which exhibits a disruptive and evil ontology that problematises the exorcism of the past. Furthermore, the reactions of ‘modern’ characters to these revenants illustrate the imperative to exorcise the past, and therefore the treatment of history and the past is reflected in the interaction between the ‘modern’ characters and the Gothic revenants. Through this interaction as well as the parody of traditional Gothic and historical fiction conventions, Neo- Gothic fiction constructs a critique of the Enlightenment’s grand narrative of progress. Paradoxically, this constitutes Neo-Gothic fiction’s own attempt to exorcise the past, which it recognises in a simplified and reductive narrative of history propounded through the grand narrative of progress. -
Haunting Across the Class Divide: Sarah Waters's 'Affinity'
AVANT, Vol. VIII, No. 2/2017 ISSN: 2082-6710 avant.edu.pl/en DOI: 10.26913/80202017.0112.0013 Haunting across the Class Divide: Sarah Waters’s Affinity and The Little Stranger Barbara Klonowska Catholic University of Lublin [email protected] Received 28 February 2017; accepted 3 October 2017. Abstract Haunting in literary fiction is often interpreted psychologically as a sign of suppressed psychic content or as nostalgia or mourning for the loss. Yet, it may also be used allegor- ically as a manifestation of hidden social conflicts, and hence mark a political agenda of thus constructed works. In the novels by Sarah Waters spectres, poltergeists and haunting appear not as a sign of or a contact with an outer reality; to the contrary, they may be seen as perfectly human—though eccentric—expressions of class and economic inferiority. In Affinity spectres and spiritual séances are presented as a means of earning money by lower classes and the latter’s cunning use of the upper classes’ credulity. In The Little Stranger the poltergeist may be interpreted as an accumulated anger and desire of the servants long ignored by the masters of the emblematic country house. In both, haunting and ghosts manifest vengeance of the underprivileged taken on the socially superior. The essay shows how fictional haunting and spectrality, far from marking a supernatural reality or intro- ducing extrasensory concepts, may function as an allegorical method to discuss political and social problems such as class inequality or social justice. Keywords: haunting; neo-Victorian fiction; class; trauma; suppression; rewriting; political intervention. -
Garden Paths and Blind Spots Armitt, L
Garden paths and blind spots Armitt, L Title Garden paths and blind spots Authors Armitt, L Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/17900/ Published Date 2009 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. LUCIE ARMITT ON SARAH WATERS’S THE LITTLE STRANGER Garden Paths and Blind Spots When I interviewed Sarah Waters in 2006, I reminded her of an attempt I had made on our first meeting to try and ‘claim’ her as a Welsh Writer. Though now residing in London, she was, of course, born in Pembrokeshire, and I continue to hope to see her to reflect on that aspect of her identity in her fiction. Her response, however, was candid: ‘I love London precisely because I have come to it from a small town in Pembrokeshire – which was a great place to grow up in, but London seemed to me to be the place to go to perhaps slightly re-invent yourself, or to find communities of people – in my case, gay people – that you couldn't find at home.’ 1 In her new novel, The Little Stranger , she does not return to Wales, but she does return to the countryside, setting the novel in the rural Warwickshire village of Lidcote, near Leamington Spa. -
New Considerations of Identity, Genre and Authorship in the Fiction of Sarah Waters
Appropriating, adapting and performing Item Type Thesis Authors Bishton, Joanne Download date 29/09/2021 02:34:38 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10545/623022 Appropriating, Adapting and Performing: New Considerations of Identity, Genre and Authorship in the Fiction of Sarah Waters. Joanne Bishton University of Derby PhD Thesis, 2016 Acknowledgements My thanks go first to Sarah Waters who found time in her busy schedule to make herself available for an interview for this thesis. Her generosity in this regard helped to set the tone of this thesis and the kindness she showed in providing details of the personal and political motivations behind her writing, have helped widen the theoretical dimensions of this thesis. Thanks also to Waters’ publisher at Virago, Lennie Goodings, who set aside time within her busy schedule to provide an interview for this thesis. She offered a commercial perspective on Waters that has enriched this thesis in a different way. Her assistance enabled this thesis to consider Waters alongside a broader set of trajectories. My sincere and heart-felt gratitude goes to my husband Andrew and son Joseph. Their support has sustained me through the small hours of the day, their humour has lightened the load and their love has made it possible. I am dedicating this thesis to them for their unwavering faith in me. This thesis would not be complete without the guidance I have received from my Director of Studies Professor Neil Campbell and second supervisor Dr Christine Berberich. I am immensely grateful for your experience, patience and guidance. -
Adele Jones and Claire O'callaghan
AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS Adele Jones and Claire O’Callaghan BRIDGING THE DIVIDE: FEMINIST PASTS AND PRESENTS At the time this collection was being fi nalised, Sarah Waters published her hugely anticipated sixth novel, The Paying Guests (2014). The novel has met with more mixed reviews than Waters’s previous fi ve novels, with it being described both as ‘the apotheosis of her talent’ 1 and a ‘squander[ing]’ of Waters’s writing abilities ‘on the production of middlebrow entertain- ment’. 2 Yet The Paying Guests is no less ambitious in scope, less carefully plotted, nor less poignant and satirical by turn, than her other works. Most importantly for this collection, though, the novel is explicitly feminist in terms of its representations of the heteropatriarchal structures that bind women into oppressive gender roles. Set in 1922, the novel appropriates the infamous Thompson-Bywaters case as the basis for its characters’ tangled stories. On 9 January 1923, Edith Thompson and Freddy Bywaters were hanged for the murder of Thompson’s husband, Percy Thompson. The case against them focused on their love affair as the prosecution maintained that both Thompson and Bywaters had plotted to kill Percy Thompson (though both Thompson and Bywaters always maintained that Edith was innocent and a mere witness to her husband’s fatal attack). Some lascivious (for the time) details from Thompson’s letters to Bywaters were revealed in court and the case became notorious, focusing particularly on the perceived dichotomy between Thompson as innocent victim and fallen woman. That notoriety was sealed when Thompson haemorrhaged spectacularly upon falling from the gallows. -
The Little Stranger
THE LITTLE STRANGER Pathe, Film4 and Ingenious Media present in association with the Irish Film Board (Bord Scannán na hÉireann) and with the participation of Canal + and Cine + a Potboiler Production in association with Element Pictures THE LITTLE STRANGER DIRECTED BY Lenny Abrahamson STARRING Domhnall Gleeson, Ruth Wilson, Will Poulter, Liv Hill and Charlotte Rampling PRODUCED BY Gail Egan, Andrea Calderwood, Ed Guiney EXECUTIVE PRODUCED BY Cameron McCracken, Daniel Battsek, Andrew Lowe, Celine Haddad, Tim O’Shea SCREENPLAY BY Lucinda Coxon BASED ON THE NOVEL BY Sarah Waters DIRECTOR OF PHOTOGRAPHY Ole Bratt Birkeland EDITOR Nathan Nugent COMPOSER Stephen Rennicks PRODUCTION DESIGNER Simon Elliott COSTUME DESIGNER Steven Noble CASTING DIRECTOR Nina Gold HAIR & MAKE UP DESIGNER Sian Grigg THE LITTLE STRANGER SHORT SYNPOSIS THE LITTLE STRANGER tells the story of Dr Faraday, the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long hot summer of 1948, he is called to a patient at Hundreds Hall, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries. But it is now in decline and its inhabitants - mother, son and daughter - are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how disturbingly, the family’s story is about to become entwined with his own. THE LITTLE STRANGER LONG SYNPOSIS In the summer of 1948, after returning to the small village of Lidcote following the death of his widowed mother, Dr. -
English Literature Course Booklet
A Level Course Booklet Student Name: ___________________ PAPER 1 Approaching the Drama Exam (PartA): Othello The Question You will have a choice of two questions which will ask you to analyse a theme within the play and relate it to your knowledge of critical interpretations and context. The question will expect you to explore the use of literary and dramatic devices and the shaping of meanings within Othello. The question will usually begin with ‘Explore how. .” For example: Explore how Shakespeare presents the disturbing aspects of human nature in Othello. You must relate your discussion to relevant contextual factors and ideas from your critical reading. In your answer, you should consider the following: • Different interpretations of the text • The writer’s use of language and technique • How the context is significant to your reading of the play Recommended Reading List: Hamlet – William Shakespeare Doctor Faustus – Christopher Marlowe The Jew of Malta – Christopher Marlowe The Importance of Being Earnest – Oscar Wilde The Adventures of Tom Sawyer – Mark Twain Key Quotations Othello Critics: • "His love and his jealousy are no part of a soldiers character unless for comedy" Rymer • "Othello is... by far the most romantic figure among Shakespeare's heroes" -A.C. Bradley • "The character of Othello is unbelievable, and therefore the play is unbelievable"- Rymer • "Othello... is egotistical" - F.R. Leavis Othello Quotations: • "I follow him to serve my turn upon him" • "Valiant Moor" • "My noble Moor is true of mind" • "I had rather -
The Queer Whispers of the Body in Sarah Waters's Tipping the Velvet and Affinity
The Queer Whispers of the Body in Sarah Waters’s Tipping the Velvet and Affinity By Alexa Athelstan Submitted to Central European University Department of Gender Studies In partial fulfilment of the Masters of Arts Gender Studies Supervisor: Anna Loutfi Second Reader: Eszter Timar CEU eTD Collection Budapest, Hungary 2009 i ‘Written on the body is a secret code only visible in certain lights, the accumulations of a lifetime gather there. In places the palimpsest is so heavily worked that the letters feel like brail.’ Jeanette Winterson, Written on the Body (1992), p.89. CEU eTD Collection ii Abstract This thesis concerns itself with the novels of the contemporary Welsh lesbian writer Sarah Waters. It therefore analyses the way in which the cultural taboo on lesbian desire is dealt with within her bestselling picaresque bildungsroman, Tipping the Velvet (1998), and her gothic fantastic novel, Affinity (1999). Thus, this thesis explores how the cultural taboo on lesbian desire is shown within the novels of Sarah Waters to be transmitted on an interpersonal level and through oblique verbal language and bodily semiotics. It moreover deals with the way in which the lesbian subjects of her novels subvert this cultural taboo on lesbian desire and existence, by articulating their desires through a surreptitious language of the body, rather than through an explicit language of the tongue, so that they may circumscribe the oblique prohibitions which they encounter. Finally, this thesis concerns itself with the contemporary lesbian politics of these Neo Victorian novels by Sarah Waters and how they may be seen to be challenging the cultural taboo on lesbian desire through a strategy of lesbian visibility, as well as through her writing and thus arguably fighting for the cultural acceptance of lesbian desire and existence, within the context of contemporary (mid to late 1990’s) Britain.