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Sto caricando le informazioni... The Paying Guests (originale 2014; edizione 2015)di Sarah Waters
Informazioni sull'operaGli ospiti paganti di Sarah Waters (2014)
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Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro. [a:Sarah Waters|25334|Sarah Waters|https://images.gr-assets.com/authors/1409248454p2/25334.jpg] can be relied upon for sustained tension and plot twists that catch you off guard. I read 'The Paying Guests' faster than expected, as the tense atmosphere rapidly hooked me. The book begins with early 1920s social awkwardness, as Frances and her mother are forced to rent out the top floor of their house to lodgers. The couple who move in are below Frances' family on the social scale, which creates some initial tension. Then Frances bonds with the housewife, Lilian, while her husband is out at work. Given this is a Sarah Waters novel, I was unsurprised that Frances turned out to be a lesbian and fell in love with Lilian. Subsequent events, however, definitely kept me on my toes. I knew from the blurb ('...a love story that is also a crime story...') that at some point there would probably be a murder. Lilian taking illegal abortifacients then accidentally killing her husband Leonard in the same evening was still a shocking twist. With incredible level-headedness, Frances manages to cover up both. I am not a great fan of whodunnits and get much greater enjoyment from novels like this, in which the reader knows exactly what happened and the suspense comes from whether anyone (or everyone) else finds out. The last 350 pages of 'The Paying Guests' are compulsive to read for just this reason. The police investigate Leonard's death; Frances and Lilian consider confessing to manslaughter, decide it is too late, then reconsider repeatedly after a young man is arrested for Leonard's murder. The final twist, that the man is acquitted and the two women reunite as they still love each other, took me by surprise. I was expecting a downbeat, tragic ending and was pleased to find it hopeful instead. 'The Paying Guests' evokes London a hundred years ago very vividly, with many details of personal grooming, housework, class differences, etc. Frances' perspective conveys the psychological claustrophobia of sharing a home with strangers better than anything else I've read for a long time. Although it wasn't as ingenious as [b:Fingersmith|8913370|Fingersmith|Sarah Waters|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1545241494l/8913370._SY75_.jpg|1014113], I found 'The Paying Guests' highly involving and beautifully written.
"Some novels are so good, so gripping or shattering that they leave you uncertain whether you should have ever started them. You open “The Paying Guests” and immediately surrender to the smooth assuredness of Sarah Waters’s silken prose. Nothing jars. You relax. You turn more pages. You start turning them faster. Before long, you resemble Coleridge’s Wedding-Guest: You cannot choose but read. The book has you in thrall. You will follow Waters and her story anywhere. Yet when that story ends, you find yourself emotionally sucked dry, as much stunned as exhilarated by the power of art." The superbly talented Sarah Waters — three times shortlisted for the Man Booker Prize — leads her readers into hidden worlds, worlds few of us knew existed. And so it is with The Paying Guests. ..Amid this heart-crushing drama, uncaring London grinds on, a cacophony of “hooves, voices, hurrying steps, the clash and grinding of iron wheels” that threatens to destroy the hopes of summer: an utterly engrossing tale. Novel tackles big themes but lacks bite...Yet the love story’s progression – to say more would give too much away – is not entirely convincing by the end..Characterisation has a hint of familiarity, as if characters have been derived from Waters’ bank of past creations, and they lose some of their gleam for it, though the story stays emotionally-charged... The Paying Guests, Sarah Waters' superb, bewitching new novel, is set in 1922 London...My only quibble with The Paying Guests is its length; the last hundred pages or so chronicle a court trial and feel padded, the first time I've ever had that reaction to a Sarah Waters novel. Otherwise, this is a magnificent creation, a book that doubles as a time machine, flinging us back not only to postwar London, but also to our own lost love affairs, the kind that left us breathless — and far too besotted to notice that we had somehow misplaced our moral compass. This fascinating domestic scenario might have made for an absorbing short novel;... Its pastiche propriety and faux-Edwardian prose (people are forever "colouring" and "crimsoning" and "putting themselves tidy") become irritants; and the novel's descent into melodrama as a murder is committed – and the inspector called – turns this engaging literary endeavour into a tiresome soap opera....Waters's unusual gift for drama and for social satire is squandered on the production of middlebrow entertainment:.. it would be good to see Waters produce something corrective and sharp, in which her authoritative and incisive dramatic style was permitted to be sufficient satisfaction on its own. Premi e riconoscimentiMenzioniElenchi di rilievo
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. Non sono state trovate descrizioni di biblioteche |
Già recensito in anteprima su LibraryThingIl libro di Sarah Waters The Paying Guests è stato disponibile in LibraryThing Early Reviewers. Discussioni correntiNessunoCopertine popolari
Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)823.914Literature English English fiction Modern Period 1901-1999 1945-1999Classificazione LCVotoMedia:
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Waters' writing is very descriptive, especially in its middle portion when all hell breaks loose. She also uses the tropes of mystery novels and especially noirs, really well, as all through the book you feel the inevitability of what is coming, and it really puts an effective dark cloud over everything. You can see what's coming, but it's not predictable.
This isn't as strong a book as The Little Stranger, but I couldn't put it down, driven mostly by her descriptive writing. ( )