Rose Tremain
Författare till The Road Home
Om författaren
Rose Tremain was born in London, England on August 2, 1943. She has written several novels including The Way I Found Her, Merivel: A Man of His Time, and The American Lover. Restoration was adapted into a movie in 1995 and a stage production in 2009. She has won numerous awards including the James visa mer Tait Memorial Prize and the Prix Femina Etranger for Sacred Country, the Whitbread Novel of the Year Award for Music and Silence, and the Orange Prize for Fiction in 2008 for The Road Home. She was made a CBE in 2007. (Bowker Author Biography) visa färre
Serier
Verk av Rose Tremain
The Beauty of the Dawn Shift 1 exemplar
My Wife is a White Russian 1 exemplar
Associerade verk
The Art of the Story: An International Anthology of Contemporary Short Stories (1999) — Bidragsgivare — 338 exemplar
In Another Part of the Forest: An Anthology of Gay Short Fiction (1994) — Bidragsgivare — 174 exemplar
Jo's Girls: Tomboy Tales of High Adventure, True Grit, and Real Life (1997) — Bidragsgivare — 46 exemplar
Taggad
Allmänna fakta
- Andra namn
- Thomson, Rosemary Jane (birth name)
- Födelsedag
- 1943-08-02
- Kön
- female
- Nationalitet
- UK
- Födelseort
- London, England, UK
- Bostadsorter
- London, England, UK
Norwich, East Anglia, England, UK
Paris, France - Utbildning
- Crofton Grange School, England
The Sorbonne, Paris
University of East Anglia
Francis Holland School - Yrken
- writer
author
novelist
creative writing teacher
Chancellor, University of East Anglia
screenwriter - Relationer
- Holmes, Richard (Partner)
Tremain, Jon (ex-husband)
Dudley, Jonathan (ex-husband) - Organisationer
- University of East Anglia
- Priser och utmärkelser
- Order of the British Empire (Commander)
Granta's Best of Young British Novelists (1983)
Fellow, Royal Society of Literature - Agent
- Sheil Land Associates Ltd
Medlemmar
Diskussioner
Group Read, February 2019: The Colour i 1001 Books to read before you die (mars 2019)
Recensioner
Der weite Weg nach Hause: Roman av Rose Tremain
abgebrochen
I read two articles this week that impacted on how I thought about the latest book from Rose Tremain.
The first was a call from Salman Rushdie to allow writers to create characters outside of their own experience. You can read it here: suffice to say that I agree with him. You cannot write (or read) about the complexities of life in a world full of diversity if these barriers are imposed on authors. My only caveat is that readers and writers should, IMO, read as widely as possible from a diversity of authors too.
The second article was from 2022: John Banville asserting in an interview that there has been a creeping retreat into infantilism. You can read it here but essentially he is concerned about two things: one is that readers don't seem to want difficult books now.
He makes the point that the escapism that children enjoy is one thing, but that the escape you get from art isn’t away from the world but into an infinitely wider one – into life.
Banville also says that his generation tried to address the question of being:
What has any of this got to do with Rose Tremain's latest novella? It's the story of Marianne Clifford reflecting as the years pass on the way she nurtures her obsession with her first (failed) love. It's gently nostalgic, and it's (just bearably) narcissistic. It's set in 1960s upper middle-class Chelsea, where the Windrush generation is nowhere in sight and if gays are in the closet nobody opens the doors. The characters have names like Simon and Hugo; Rowena, Cordelia and Petronella a.k.a. Pet. They have horses called Mirabelle and Marvin.
Now, I like Rose Tremain's novels. I like her interest in exploitation (The Road Home, 2007); moral dilemmas (The Gustav Sonata, 2016); intolerance (Islands of Mercy, 2020); vengeance (Lily, a Tale of Revenge, 2021); and inequity (Merivel, a Man of His Time, 2012).
But while Absolutely and Forever is a mildly interesting story that takes us back to our younger selves — that first mad passion, that first broken heart — it's still a disappointment. Salman Rushdie's cautionary words about limiting the palette only to what the author knows, and John Banville's disdain for infantilism seem only too apt to me.
I had some hope for the novel on pages 46-7, when Marianne recounts an episode at school...
To read the rest of my review please visit https://anzlitlovers.com/2023/10/26/absolutely-and-forever-2023-by-rose-tremain/… (mer)
The first was a call from Salman Rushdie to allow writers to create characters outside of their own experience. You can read it here: suffice to say that I agree with him. You cannot write (or read) about the complexities of life in a world full of diversity if these barriers are imposed on authors. My only caveat is that readers and writers should, IMO, read as widely as possible from a diversity of authors too.
The second article was from 2022: John Banville asserting in an interview that there has been a creeping retreat into infantilism. You can read it here but essentially he is concerned about two things: one is that readers don't seem to want difficult books now.
A friend said to me: “You see supposedly grownup people on the train unashamedly reading Harry Potter books; they should be reading grownup books, not children’s books!”
He makes the point that the escapism that children enjoy is one thing, but that the escape you get from art isn’t away from the world but into an infinitely wider one – into life.
Banville also says that his generation tried to address the question of being:
Fiction writers in Ireland now seem just to be writing about their immediate lives and the lives of their friends. That wasn’t the point at all for my generation; we were interested in what people are, not what they do.
What has any of this got to do with Rose Tremain's latest novella? It's the story of Marianne Clifford reflecting as the years pass on the way she nurtures her obsession with her first (failed) love. It's gently nostalgic, and it's (just bearably) narcissistic. It's set in 1960s upper middle-class Chelsea, where the Windrush generation is nowhere in sight and if gays are in the closet nobody opens the doors. The characters have names like Simon and Hugo; Rowena, Cordelia and Petronella a.k.a. Pet. They have horses called Mirabelle and Marvin.
Now, I like Rose Tremain's novels. I like her interest in exploitation (The Road Home, 2007); moral dilemmas (The Gustav Sonata, 2016); intolerance (Islands of Mercy, 2020); vengeance (Lily, a Tale of Revenge, 2021); and inequity (Merivel, a Man of His Time, 2012).
But while Absolutely and Forever is a mildly interesting story that takes us back to our younger selves — that first mad passion, that first broken heart — it's still a disappointment. Salman Rushdie's cautionary words about limiting the palette only to what the author knows, and John Banville's disdain for infantilism seem only too apt to me.
I had some hope for the novel on pages 46-7, when Marianne recounts an episode at school...
To read the rest of my review please visit https://anzlitlovers.com/2023/10/26/absolutely-and-forever-2023-by-rose-tremain/… (mer)
Roman étonnant et passionnant, avec une pointe d'humour anglais... impossible de lâcher cette histoire pas tout à fait vraisemblable, mais quel régal ! Ce n'est pas de la grande littérature, mais l'important c'est le plaisir que ce livre m'a donné.
full review can be found here:
https://nordie.wordpress.com/2017/04/02/book-review-the-colour-by-rose-tremaine/
https://nordie.wordpress.com/2017/04/02/book-review-the-colour-by-rose-tremaine/
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- Medlemmar
- 8,980
- Popularitet
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- ISBN
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