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This is a full-length study of Jeanette Winterson's work as a whole, containing in-depth analyses of her eight novels and cross-references to her minor fictional and non-fictional works. It establishes the formal, thematic and ideological characteristics of the novels, and situates the writer within the general panorama of contemporary British fiction. Earlier critics usually approached Winterson exclusively either as a key lesbian novelist, or as a heavily experimental and ‘arty’ writer, whose works are unnecessarily difficult and meaningless. By contrast, this book provides a comprehensive, ‘vertical’ analysis of the novels. It combines the study of formal issues – such as narrative structure, point of view, perspective and the handling of narrative and story time – with the thematic analysis of character types, recurrent topoi, intertextual and generic allusions, etc., focused from various analytical perspectives: narratology, lesbian and feminist theory (especially Cixous and Kristeva), Freudian and Lacanian psychoanalysis, Jungian archetypal criticism, Tarot, Hermetic and Kabalistic symbolism, myth criticism, Newtonian and Post-Newtonian Physics, etc. Novels that read superficially, or appear simple and realistic, are revealed as complex linguistic artifacts with a convoluted structure and clogged with intertextual echoes of earlier writers and works. The conclusions show the inseparability of form and meaning (for example, the fact that all the novels have a spiralling structure reflects the depiction of self as fluid and of the world as a multiverse) and place Winterson within the trend of postmodernist British writers with a visionary outlook on art, such as Maureen Duffy, Marina Warner or Peter Ackroyd.

Robert Miles

understand the claims to historical veracity as a figure for their ‘truthfulness’, their social utility, a point underlined by the generic allusion this gesture makes to historical epic at the highly valued end of the ordering of the arts. But as Gothic texts conceal an impulse to subvert the hegemonic values they protectively clothe themselves in, such appeals are frequently made in

in Gothic writing 1750–1820
Sarah Annes Brown

‘resurrection’ of the author’s own work, the name Burke intensifies the aura of the supernatural around James by hinting that he may really have lain in the grave. James’s second false death is rather more dramatic. Here, if there is an allusion, a suggestion that more is being resurrected than a fictional character, it is perhaps best characterised as a more generic allusion to the conventions of

in A familiar compound ghost