History and storytelling
in Jeanette Winterson
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter discusses Winterson's third novel, The Passion. The Passion may be said to combine the parallel stories of two marginal witnesses to the Napoleonic wars, at the crucial moment in Hegelian World History when it was approaching its apocalyptic synthesis. One is Henri, a French soldier who joined the Grande armée because he wanted to be a drummer and ended up as chicken-neck wringer and personal cook to Napoleon. The other is Villanelle, a Venetian boatman's daughter who worked at the casino as a croupier until she was sold by her husband as a vivandière, or army prostitute. The combination of history with fantasy aligns The Passion with ‘historiographic metafiction’, the type of novel characterised by intense self-reflexivity and a relish in storytelling which Linda Hutcheon considers to be the best expression of the contradictory nature of the postmodernist ethos.


All Time Past Year Past 30 Days
Abstract Views 155 34 2
Full Text Views 19 2 0
PDF Downloads 15 4 0