Showing posts with label The Little Stranger. Show all posts
Showing posts with label The Little Stranger. Show all posts

Wednesday, January 15, 2025

Book Review 2024 #7 - Sarah Waters's Affinity

Affinity by Sarah Waters
Published by: Riverhead
Publication Date: June 5th, 2000
Format: Paperback, 352 Pages
Rating: ★★★★★
To Buy (different edition than one reviewed)

There are secrets in everyone's lives. Everyone knows that Margaret Prior hasn't been the same since the death of her father. Only a few know that she tried to kill herself. And only one other knows that the death of her father was only the first domino to fall. His death confined Margaret to Cheyne Walk. Her dreams of Italy and a life with Helen were crushed. Helen subsequently married Margaret's brother and bore him a child. Helen, Italy, her father, all of it lost forever. Her future being nothing more than her mother's dogsbody will eventually break her. But first a kind friend of her father's tries to help. Mr. Shillitoe has asked Margaret if she would be interested in becoming a "Lady Visitor" to Millbank Prison. The scheme is that Margaret, being from a well-respected upper-class family, will be a good influence on the female prisoners. Her manners and comportment will encourage the women to emulate her. During her first visit she's uncertain if she will ever return. The despair and drudgery. The claustrophobic air. Everything combines to sap the will to live out of you. But then she sees one prisoner remarkably holding a flower. In this is a place where nothing grows. It is a mystery. One that will take over Margaret's life. Because the prisoner is none other than the famous, some may say infamous, medium Selina Dawes. Selina is in prison because her patroness died after Selina conducted a private session with a young American, Miss Madeleine Silvester, who went into a fit after Selina's spirit guide, Peter Quick, manifested himself and was rough with the her. All of this Margaret learns over time. Some from her too short visits with Selina, some from the matrons, and some from the outside world. Because that's what has happened to Margaret. She believes that her world is the prison. That she is there with Selina. And yet she cannot show how desperate she is to see Selina. Her mother has already threatened to stop her visiting the prisoners. She thinks Margaret just gets too worked up. Also Margaret cannot let the matrons suspect her partiality for the medium or they too could stop her visits. She must spread her "good work" to other inmates, hiding her true feelings and desires. But Selina understands all. Selina has manifested miracles for Margaret, flowers in the bleakest of nights. Now it is up to Margaret to get ready for another miracle, Selina's escape. The two of them will forge a new life together. The spirits just have to be willing.

Until now I didn't know that Sarah Waters had reached her full potential and written a perfect book. I should have known given how beloved she is, but of her six books I've only read half of them so I only had half the picture. I felt that The Little Stranger left much to be desired despite having a lasting influence on me and Fingersmith overstayed its welcome. So much like Goldilocks it took until I read Affinity to find something just right. The problems I had with Fingersmith in particular highlight why this book is perfection. With the story of Sue Trinder and Maud Lilly we essentially had two novels. The first half was Sue's story and the second half was Maud's story, or, if I'm being honest, just the entire story of Sue rehashed once the "twist" was revealed. The book should have ended at the twist. Leave your audience wanting more with shock and awe, with a visceral gut punch that they will never recover from. Which, ironically, is exactly what Sarah Waters did with Affinity, the book she wrote before Fingersmith. I wonder if it's because this book left questions and in some places was open to interpretation that there were critics out there who said she should work on that and then she did and it made her work less than. I would rather be left wanting more than grow to dislike a novel. Sarah Waters does an amazing job with worldbuilding. People have rightfully compared her to Dickens. She brings Victorian London to life. You feel the oppression of the air on your skin, the din of the streets in your ears. But what I found astonishing here is that she brought an overlooked part of Victorian London to life in Margaret's visits to Millbank Prison. I felt like I was there, in Millbank. The chalky walls, the confining routines, the itchy clothes, the loneliness, the dark, I was there. I was a prisoner in Millbank. And oh how it mirrors the prison of Margaret's own life. She has her own jailor in the form of her mother, her own torment in seeing her lover married to her brother, her prison is just far more luxurious. And every time I picked up this book I was taken away from my world and lived in theirs. I was there with Margaret, I was there with Selina. I WAS THERE. For a little less than a week I lived in another world. A world where a skilled Spiritualist made a desperate and lonely woman believe in supernatural powers. Believe that there was a life they could make together. A world that was someone else's. And I so believed. As George R.R. Martin said "[a] reader lives a thousand lives before he dies. The man who never reads lives only one." But not every book gives you that lived in experience. Affinity did. Sarah Waters let me live another life. A truly unforgettable one.

Wednesday, July 20, 2016

Book Review - Sarah Waters' Fingersmith

Fingersmith by Sarah Waters
Published by: Riverhead
Publication Date: October 1st, 2002
Format: Paperback, 548 Pages
Rating: ★★★
To Buy

Sue Trinder has grown up in Lant Street. She has never left this slummy Borough of London, and has never wanted to. She has lived her entire life in the care of Mrs. Sucksby, who makes her living farming babies. But Sue was the only baby that ever mattered to Mrs. Sucksby. They live with Mr. Ibbs, who makes his living in the roundabout manner of taking in dubious goods through the back door and sending it out the front in a slightly different "legitimate" form. The rest of the household is made up of Mr. Ibbs' invalid sister and John Vroom, a man with a love for dog skins, and his simple girl Dainty. This is Sue's world entire. And they are as dear to her as family. One day an acquaintance, known to all as Gentleman, arrives with a plan to make all their fortunes using Sue. Mrs. Sucksby has always told Sue that she would be the making of them all and now Sue has her chance.

Gentleman has been posing as an artist, a Mr. Rivers, for a Mr. Lilly, who lives out west in the Thames Valley. Mr. Lilly has a niece, Maud. Maud is where their fortune will be found. Gentleman has been seducing this isolated girl in hopes of getting at her fortune through marrying her but has hit a brick wall. Maud's maid, who was their chaperon, has taken ill and now Maud isn't allowed in the presence of Gentleman. Gentleman has decided to fix that. By installing not only a new chaperon, but one that will help him pursue his interests with Maud. With Sue on the inside it is a win win situation. They will compromise Maud, throw her in an insane asylum, and split her vast fortune and live like toffs. What could possibly go wrong? In a world where there are plots within plots, games within games, and you don't know who's playing who, there are a lot of ways this could play out... and perhaps it won't be to everyone's liking.

Fingersmith is an amazing book if you were to redact the final two-thirds of the book. Divided into three parts the second and third parts are repetitive. Waters showed us in that first-third what she was capable of, and if it had ended there this could have been a true classic. But instead she chose another course. Yet I wonder if this drawing out of the narrative wasn't purposeful. Yes, she could have had a tauter more compact story, but that would defeat the Victorian aspect. I think being overly long and taking the narrative straight into "I don't care land" is a staple of true Victorian writing, or Victorian-esque in this case. Like Wilkie Collins's The Woman in White, which Fingersmith strongly emulates, it overstays it's welcome by several sections. Looking back onto the other Waters book I've read, The Little Stranger, I realize now that that book really did have the perfect ending. You weren't sure what happened and it ended a bit mysteriously. If Waters had done that with this book, ending on a cliffhanger and being all mysterious, I would have been blown away and ranked it up there with some of the finest short fiction with the likes of Shirley Jackson. Instead she went the route of Wilkie Collins, and you can't really blame her for that.

Yet I can blame her for the repetitive nature of the storytelling. The Woman in White might have overstayed it's welcome but it was always moving forward. By having two different narrators with Sue and Maud, we see the exact same events at least twice. With the second section with Maud narrating I was almost skipping pages going, OK, I've already read this all from Sue's point of view, let's get to the part where we left off with Sue so that I get to the forward progression of the narration. Though once we move forward, back to Sue, we go back to the ending of part one! We have learned so much from Maud that it is painful to then have to live through Sue's excruciatingly slow journey to see Sue learn all that we already know. One step forward, two steps back. That cliffhanger to end part one... it will blow you away. Yet it is soon nullified and made pointless by all the other twists and turns and cliffhangers that come after it. The impact is lost in the dragging narrative. It got to the point where it was like watching M. Night Shyamalan's The Village, I kept not only waiting for the next not really shocking twist, but I got good at predicting what it would be, and in the end you really didn't care. So, by all means, read this book, just don't read past part one.

Though this book can't be discounted just for falling prey to the tropes Waters is emulating. She does an amazing job of capturing the seamy side of Victorian London. Sometimes you're reading about other times and think, now that would be a nice place to visit. Not here, not this world. And I think that's what makes the world of the book so real. You feel as if this is probably the most accurate depiction you've ever read of this time period. It's filthy and dirty, it's creaking corset stays on a large woman who never washes herself and the secrets she hides within her bodice. Maud's penchant for gloves, though not of her own doing, at least is some kind of barrier to the grotesques that are discussed. But even they are tainted. Yet it's the unrelenting depravity and filth combined with characters who you don't just dislike, but who have nothing good or nice ever happen to them that wears you down in the end. Sure a little history of Victorian pornography is well and good, but after awhile, you say enough is enough. This book grinds you down, and in the end, you are relieved that it is done.

The secret of Mr. Lilly and his pornography collection builds on this seamy underbelly that Waters has exposed. The Victorian London she is depicting isn't the one we really see in the literature of the day. While Victorians were far more into sex, sensationalism, and penny dreadfuls than popular authors of the day were willing to depict, it is still a little taboo. Over time the image that has arisen in popular culture is of the Victorians being a very prudish lot. They never talked about sex and didn't even know quite how one went about it, like the old Pete and Dud sketch where children are conceived through sitting on warm chairs and the eating of good meals. The last few years at the steampunk convention I go to I have attended a panel on the "Forbidden Image." Which is a "selection of erotic images from the Victorian era and classical images known to the Victorians ... but forbidden by polite society!" The images, ones that would no doubt be in Mr. Lilly's collection, show that these things did indeed exist. Any new technology soon goes to sex, just look at the internet. So is it any wonder that as soon as there was photography there was pornography? Fingersmith doesn't just depict Victorian England as we know it, but as it actually was.

Which leads to Sue and Maud. This book is perhaps most famous because it continues in Waters tradition of depicting lesbianism in different eras. Sapphic love has been around as long as there have been humans, but outside of pornography, it wouldn't have been openly discussed in Victorian times, despite it existing. Here Waters is breaking down another door, going all out with what would be a taboo subject and making it believable and compelling. For all the repetition and all the tropes she falls victim to in her writing of Fingersmith, there is the other side of the coin. All that she does right. A more accurate depiction of the times, relationships that are real, making us readers see that this world of times gone by was just as real as the "now." I also defy anyone to not find Sue and Maud's sex scene quite steamy. With their bodies connecting it makes us feel for them, and no, not in THAT way. It's a scene that makes them both so vibrant and alive that even if you hadn't found some connection to the characters, this one moment will make them real for you. Because more than anything, that is what this book does, make Victorian England real. 

Tuesday, October 6, 2009

Man Booker Prize 2009 Winner Announced!

Just in moments ago, and just in time for it's release stateside next week, Hilary Mantel's Wolf Hall has been chosen this years winner for the Man Booker Prize for Fiction. Beating out such luminaries as A S Byatt, J M Coetzee and Sarah Waters, Mantel has apparently been the favorite since the long list stage, or perhaps they're just saying that now to look all wise and prophetic. This story about Cromwell's rise to power should be on everyone's must read books for the fall! To read the full press release, head on over to The Booker Prize's website.

Wolf Hall by Hilary Mantel
Published by: Henry Holt and Company
Publication Date: October 13th, 2009
Format: Hardcover, 560 Pages
To Buy

Wednesday, September 16, 2009

Man Booker Prize 2009 Shortlist Announced

The Man Booker Prize Shortlist was finally announced. I always find this prize interesting, another of those awards I'm not sure what it means but when I see the little sticker on a book I get excited. Well, actually I know a bit about the prize thanks to Wikipedia...it is a literary prize awarded each year for the best original full-length novel, written in the English language, by a citizen of either the Commonwealth of Nations, Ireland, or Zimbabwe. All I knew (prior to my little foray at Wikipedia) is it usually means good British writing! IF J. M. Coetzee, who is among the nominees, wins this year he will be the first author to ever win the award three times. A. S. Byatt has also previously won for Possession, while Sarah Waters has been shortlisted twice before but has never won yet, so maybe it's her year... The Man Booker Prize 2009 winner will be televised live from the Guildhall awards ceremony on the BBC Ten O'Clock News on Tuesday, October 6th, 2009, so for us stateside, just watch for the post on the internet. In the meantime, get reading these great nominees!

A S Byatt's The Children's Book
To Preorder American Edition
To Order British Edition

J M Coetzee's Summertime
To Preorder American Edition
To Order British Edition

Adam Foulds' The Quickening Maze
To Buy British Edition

Hilary Mantel's Wolf Hall
To Preorder American Edition
To Order British Edition

Simon Mawer's The Glass Room
To Buy British Edition

Sarah Waters' The Little Stranger
To Buy American Edition
To Buy British Edition

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