The Paying Guests: shortlisted for the Women's Prize for Fiction

Waters, Sarah

Brossura

ISBN 10: 0349004609 ISBN 13: 9780349004600

Casa editrice: Virago, 2015

This novel from the internationally bestselling author of The Little Stranger, is a brilliant 'page-turning melodrama and a fascinating portrait of London of the verge of great change' (Guardian)

It is 1922, and London is tense. Ex-servicemen are disillusioned, the out-of-work and the hungry are demanding change. And in South London, in a genteel Camberwell villa, a large silent house now bereft of brothers, husband and even servants, life is about to be transformed, as impoverished widow Mrs Wray and her spinster daughter, Frances, are obliged to take in lodgers.

For with the arrival of Lilian and Leonard Barber, a modern young couple of the 'clerk class', the routines of the house will be shaken up in unexpected ways. And as passions mount and frustration gathers, no one can foresee just how far-reaching, and how devastating, the disturbances will be.

This is vintage Sarah Waters: beautifully described with excruciating tension, real tenderness, believable characters, and surprises. It is above all a wonderful, compelling story.

'You will be hooked within a page . . . At her greatest, Waters transcends genre: the delusions in Affinity (1999), the vulnerability in Fingersmith (2002), the undercurrents of social injustice and the unexplained that underlie all her work, take her, in my view, well beyond the capabilities of her more seriously regarded Booker-winning peers. But The Paying Guests is the apotheosis of her talent; at least for now. I have tried and failed to find a single negative thing to say about it. Her next will probably be even better. Until then, read it, Flaubert, Zola, and weep' -Charlotte Mendelson, Financial Times

Recensione:

Absolutely brilliant (Jacqueline Wilson Sunday Times)

A page-turning melodrama and a fascinating portrait of London on the verge of great change (Guardian)

Waters's page-turning prose conceals great subtlety. Acutely sensitive to social nuance, she keeps us constantly alert . . . From a novelist who has been shortlisted for the Booker three times, this is a winner (Intelligent Life (The Economist))

The novel's remarkable depth of field - from its class-ridden background to its individuals' peccadilloes - is sharply portrayed by an author writing at her best. Waters's 20-20 vision perceives the interior world of her characters with rare acuity in a prose style so smooth it pours down the page in a book to be prized (Scotland on Sunday)

A sumptuously subdued story of making do and getting by after the great war (Philip Hensher Guardian)

Brilliantly involving . . . juicy, beautifully observed [and] not afraid to be explicit (Metro)

A triumph (Woman & Home)

You will be hooked within a page . . . At her greatest, Waters transcends genre: the delusions in Affinity (1999), the vulnerability in Fingersmith (2002), the undercurrents of social injustice and the unexplained that underlie all her work, take her, in my view, well beyond the capabilities of her more seriously regarded Booker-winning peers. But The Paying Guests is the apotheosis of her talent; at least for now. I have tried and failed to find a single negative thing to say about it. Her next will probably be even better. Until then, read it, Flaubert, Zola, and weep (Charlotte Mendelson Financial Times)

A masterpiece of social unease . . . It isn't so much the plot that makes you read on - the novel's armature is a comparatively uncomplicated suspense narrative but barnacled to it is an astonishing accretion of detail . . . A virtuoso feet of storytelling (Jane Shilling Evening Standard)

She give(s) us a poignant love story which symbolically sees in the death of the old order, the death of the old fashioned husband and maybe the birth of an era of love without secrets (Independent)

Descrizione del libro:

The extraordinary bestselling author, who wrote three astonishing Victorian novels before moving to the 1940s with The Night Watch and The Little Stranger, now turns to the 1920s.