A Spell of Winter: WINNER OF THE WOMEN'S PRIZE FOR FICTION

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Mr. Bullivant offers Cathy glimpses of a larger world, and Kate urges her to leave the estate, but she cannot bring herself to act in response. She even states that she's "not sure about anything" except staying at the house (p. 253). Why is Cathy so attached to a house with bad memories? What does this suggest about her psychological complexity? Outstanding. The plot unfolds with both tension and inevitability as Dunmore plays off past against present, rubs together contemporary themes of urban corruption with far-off memories of taboo passion' Sunday Telegraph

Out of curiosity, after I'd finished the book I read WITH YOUR CROOKED HEART, Dunmore's latest. Although some of the same themes surface --- particularly the absent mother --- and there is a continuing taste for the macabre, Dunmore doesn't overdo her effects or use more words than she has to. Her people, instead of having to fight their way out of encumbering gothic stereotypes, are fully themselves --- sympathetic despite addiction, brutality, dishonesty, pain --- from the start. And the suspense is terrific. Mostly the children run wild in the woods and there is a sense of nature, both bounteous and grisly in Dunmore’s atmospheric setting where images of violence against small animals recur. Miss Gallagher fears for Cathy, as does her grandfather, and at seventeen, Cathy is introduced to Mr Bullivant, the wealthy new owner of the neighbouring estate who is fresh from Italy. He collects art, is pleasant company and knows Cathy’s mother. He also worries about Cathy and encourages her to leave and see the world, but she would rather stay at home with her grandfather. At around this time I began to write the poems which formed my first poetry collection, The Apple Fall, and to publish these in magazines. I also completed two novels; fortunately neither survives, and it was more than ten years before I wrote another novel. Helen Dunmore was an award-winning novelist, children’s author and poet who will be remembered for the depth and breadth of her fiction. Rich and intricate, yet narrated with a deceptive simplicity that made all of her work accessible and heartfelt, her writing stood out for the fluidity and lyricism of her prose, and her extraordinary ability to capture the presence of the past.

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a b Cain, Sian (2 January 2018). "Helen Dunmore wins posthumous Costa award for collection Inside the Wave". The Guardian. Archived from the original on 2 January 2018 . Retrieved 2 January 2018.

One of the most beautiful women ever to grace the silver screen, Hedy Lamarr also designed a secret weapon against Nazi Germany. I think of the spittle running down the side of old Semple’s mouth and hanging in his rough beard. The beard is greyer than the hair on his head. It is a dirty ash grey, and bobbles of spittle tremble in it with the trembling of old Semple’s body. He has always been clean-shaven, but he will not let his wife shave him now. Dunmore's writing is the star of the show here: gorgeously lyrical, evocative and atmospheric, alive with startling imagery and unexpected conjunctions. But there are too many long descriptions of woodland and flowers (so many flowers) that make the pace sluggish and congest the text. In a review in The Washington Post, American writer and academic Nicholas Delbanco described A Spell of Winter as "an erotic pastoral". [3] He said it is "heady Gothic stuff" reminiscent of Brontë's Wuthering Heights. A less experienced author may have turned this into a "romantic melodrama", but Delbanco stated that Dunmore's "authoritative telling" has produced a "haunt[ing]" tale. [3] Comparing herself to the beautiful Livvy, a dowdier Cathy thinks: “I was too like my mother. My face made people think of the things men and women did together in the dark” (p. 66). What does she mean? What kind of face forces people into shame? Contrast this with the shame that Miss Gallagher attempts to stir up in people.

Her most recent prize shortlisting, in 2006, was for the Nestlé Smarties book prize for children's fiction, with The Tide Knot, the second volume in a quartet of children's novels set, like Zennor, on the glittering, mysterious Cornish coast. The move into adult fiction in no way derailed her desire to write for children; in fact, she says, "It's something that's actually become more important in the last half-dozen years. Children are a completely different audience, and I enjoy that. There's something about the way they devour books that's wonderful; you don't get many fans of adult fiction sending you beautiful drawings of your characters. And it frees you to layer on the suspense and narrative drama – to create lots of worlds, real and unreal, and move into them. But at the same time, it's just the same as adult fiction in terms of the emotions. It's not milk and water." Woodman, Sue (1 July 1996). "Orange is a female color". The Nation. Washington D.C . Retrieved 12 December 2011. (subscription required) The author's name seemed really familiar to me until I realised I'd been staring at her children's work for about a year by then, but I hadn't known she'd written books for adults, too. Throughout the text, the reader encounters graphic descriptions of smells-numerous flowers, perspiring bodies, dry rot, lemons, the fresh sweat of a horse, and so on. What literary purpose do these all these olfactory references serve? When telling Cathy a story about their father, Rob says: "I remember...because when I came in you were sitting by the fire and room smelled of rosemary" (p. 111). Clearly, smells assist (and can trigger) memory. What else boosts memory in this story and why is it so important? The novel takes place at the turn-of-the-century, when modernization is beginning to sweep across Europe. Confronted with new comforts like indoor heating at Ash Court, Cathy thinks: “I wondered if I would miss our alternations of roasting and shivering, which were as natural to us as the squeeze and swell of our hearts’ (p. 80). How does this call into question the very idea of what is “natural”? Consider how modernization has changed, and sanitized, our subjection to bodily functions. Do you think this displacement makes it difficult for characters in a modern setting to have the same Gothic sensibilities as those of characters in A Spell of Winter?