In this book, scholars, students and aficionados of Jeanette Winterson will find ten analyses of time, space and narrative in her works. From her very first novel, Jeanette Winterson has made her characters move in time and in space, and she has always shown a sophisticated interest in narrative forms, and this is the first book to focus entirely on these central concerns. The writers of the essays provide different perspectives on the three subjects, from postmodernism to quantum physics, queer theory to genre studies and the uncanny to stylistics. In its section on time and narrative, the volume offers a fresh approach to Winterson's works, with a concentration on autobiographical elements, love, desire, the language of quantum physics, and the queer uncanny. The next section, space and narrative, pursues the motifs of journeys, utopic spaces, cyberspace and labyrinths, and includes a chapter on the shorter fiction. The last section, which comprises essays that cover all three elements of time, space and narrative equally, examines these themes as they affect Winterson's representation of voices and corporeality, and her use of romance narrative in the children's fiction. The volume covers Winterson's major fiction, with the Introduction connecting the images of huts, rivers and fire-gazing that are found extensively in her works to the themes of time and space, and bringing the discussion up to Winterson's latest novel, The Stone Gods. A mixture of established and new scholars presents in this book an exciting array of the latest ideas on this respected and popular writer.

But Time is big business, and whoever gets control of Time controls life as we know it! In a house called Tanglewreck lives a girl called Silver and her guardian Mrs Rokabye. Unbeknown to Silver there is a family treasure in the form of a seventeenth-century watch called the Timekeeper, and this treasure holds the key to the mysterious and frightening changes in time. When Silver goes on the run to try and protect herself and the Timekeeper, a remarkable and compelling adventure unfolds, full of brilliance and wit, as is befitting an author with the imagination and style of Jeanette Winterson.

Putting forward a new theory of fetishism - alternative fetishism - this book provides an up-to-date examination of the work of Jeanette Winterson, offering fresh perspectives and new insights on the topics of gender, sexuality, and identity in her writing. Combining contemporary theories in psychoanalytical and cultural studies, it proposes that a rethinking of fetishism allows Winterson's works to be brought into sharper critical focus by repositioning fetishism as a daily practice in society. In so doing, it argues that Winterson's work challenges orthodox, normative, and contemporary views of fetishism to reveal her own alternative version. Containing the transcript of an email Q&A with Winterson herself and covering the majority of Winterson's oeuvre, from her first novel, Oranges Are Not the Only Fruit (1985), up to the most recent, Frankissstein (2019), the book is divided into three main chapters that each discuss a particular theme in Winterson's fiction: bodily fetishism, food fetishism, and sexual fetishism. While the book's focus is on Winterson, the theoretical framework it proposes can be applied to other authors and disciplines in the Arts and Humanities, such as theatre and film, offering new ways of thinking about topics such as fetishism, feminism, psychoanalytical theory, postmodernism, gender, and sexuality.

9/11 is not simple a date on the calendar but marks a distinct historical threshold, ushering in the war on terror, various states of emergency, a supposed “clash of civilizations,” and the putative legitimation of counter-democratic procedures ranging from extraordinary renditions to enhanced interrogation. Perhaps no date, since Virginia Woolf declared that “on or about December 1910 human character changed,” has marked such a singular point in the perception of time, identity and nature. Women’s writing has always been something of a counter-canon, offering modes of voice and point of view beyond that of the “man” of reason. This collection of essays explores the two problems of what it means to write as a woman and what it means to write in the twenty-first century.

This is a jubilant and rewarding collection of Winterson scholarship--a superb group of essays from a host of fine authors.

“The marvelous and the horrific, the mythic and the mundane overlap and intermingle in this wonderfully inventive novel.” —The New York Times Winner of the E. M. Forster Award In a fantastic world that is and is not seventeenth-century England, a baby is found floating in the Thames. The child, Jordan, is rescued by Dog Woman and grows up to travel the globe like Gulliver—though he finds that the most curious oddities come from his own mind. The spiraling tale leads the reader from discussions on the nature of time to Jordan’s fascination with journeys concealed within other journeys, all with a dizzying speed that jumps from epiphany to shimmering epiphany. From the New York Times–bestselling author of Oranges Are Not the Only Fruit and Why Be Happy When You Could Be Normal?, Sexing the Cherry is “a mixture of The Arabian Nights touched by the philosophical form of Milan Kundera and told with the grace of Italo Calvino” (San Francisco Chronicle). “Those who care for fiction that is both idiosyncratic and beautiful will want to read anything [Winterson] writes.” —The Washington Post Book World

The story of Atlas and Heracles Atlas knows how it feels to carry the weight of the world; but why, he asks himself, does it have to be carried at all? In Weight — visionary and inventive, yet completely believable and relevant to the questions we ask ourselves every day — Winterson’s skill in turning the familiar on its head to show us a different truth is put to stunning effect. When I was asked to choose a myth to write about, I realized I had chosen already. The story of Atlas holding up the world was in my mind before the telephone call had ended. If the call had not come, perhaps I would never have written the story, but when the call did come, that story was waiting to be written. Rewritten. The recurring language motif of Weight is “I want to tell the story again.” My work is full of Cover Versions. I like to take stories we think we know and record them differently. In the retelling comes a new emphasis or bias, and the new arrangement of the key elements demands that fresh material be injected into the existing text. Weight moves far away from the simple story of Atlas’s punishment and his temporary relief when Hercules takes the world off his shoulders. I wanted to explore loneliness, isolation, responsibility, burden, and freedom too, because my version has a very particular end not found elsewhere. —from Jeanette Winterson’s Foreword to Weight