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

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A few relatively normal characters keep the novel grounded: There is the eccentric grandfather with whom the children live, their mother having long ago fled to the Continent and their father having eventually died in the sanatorium. There is Kate, the Irish maid of all work, the anti-Miss Gallagher, the good servant as opposed to the bad. And there is the Austen-esque figure of their wealthy neighbor, Mr. Bullivant, who woos Cathy in a discreet fashion, sends her lemons from his Italian villa, teaches her about painting --- and, most importantly, knows and likes her errant mother. (This mother-daughter relationship seems to possess Dunmore, as if she is trying to work out something in her own life.) It had a silver shine on it,' said Kate, 'like the shine on money. But underneath the flesh was puffed up and purple. And the hand was swollen bigger than any hand I'd ever seen.'

No,' I said, my mind full of the blind, skinny leverets, 'she won't have any young. It's the wrong time.' Catherine and her brother Rob grow up on a large but failing English country estate owned by their grandfather. They have been abandoned by their parents and raised by a servant not much older than them, Kate. The siblings’ relationship is both disturbing and tender, both outrageous and relatable. WWI is brewing, but the household dramas take center stage. 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]During the 1980s and early 1990s I taught poetry and creative writing, tutored residential writing courses for the Arvon Foundation and took part in the Poetry Society's Writer in Schools scheme, as well as giving readings and workshops in schools, hospitals, prisons and every other kind of place where a poem could conceivably be welcome. I also taught at the University of Glamorgan, the University of Bristol's Continuing Education Department and for the Open College of the Arts. A new neighbor shows an interest in Catherine. At tea, he admits to having met her mother, startling Catherine and opening new wounds. Although attracted to the cold and distant Olivia, Rob decides marriage is not a possibility for him or for Catherine because of their parents’ failure. Soon a brother/sister pact is made and they agree never to take partners. This decision is the turning point of this poignant novel. A Spell of Winter is a 1995 literary gothic novel [1] by Helen Dunmore, set in England, around the time of World War I. The novel was the first recipient of the Orange Prize for Fiction in 1996. [2] Plot summary [ edit ]

Set largely in the build up to WWI, the story is narrated by Catherine, a young woman who feels increasingly cut off from the outside world. Abandoned by her mother as a child, embarrassed by the mental breakdown of her father that led to his hospitalisation, and ignored by the grandfather who finds too much pain in her resemblance to his absent daughter, she clings to her brother, Rob, for comfort. Hunkering down for the winter in their secluded, crumbling mansion, their mutual misplaced need for love takes their relationship down a dark and dangerous path that will pit them against the few who remain close to them. Well, are you going or not?' she demanded impatiently. 'It's you that's eating these muffins, not me.' British Orange Prize–winning Dunmore ( With Your Crooked Heart, 2000, etc.) mixes the spirits of T. Hardy, E. Bronte, and D. H. Lawrence to offer up a country tale of loss, madness, and deep secrecy—all with a vividness that’s luscious and unflagging. I studied English at the University of York, and after graduation taught English as a foreign language in Finland.A Spell of Winter follows the lives of Cathy and Rob before, during and after World War I. Their mother abandons the family home when they are children and their father dies, leaving them to grow up in a decaying mansion cut off from the rest of the world. Their sense of isolation and dependency on each other mutates into incest. It is testament to the strength of Dunmore’s writing that she delivers truths about love and loss through the vehicle of such ingrained taboo. I didn’t merely believe in their relationship, I wholeheartedly rooted for it. For me, that is the power of writing, right there. Did it take chutzpah, to put words in the mouth of one of her literary heroes? Not really, she says: their story needed to be told. "We know the bare bones of what happened – but what was it like for him and Frieda in this landscape? The details intrigued me: Lawrence creating a garden, growing things like salsify, getting in tons of manure. He knew how to do practical things – the ironing, the washing – and his combination of day-to-day good sense and the life of the mind fascinated me. I felt there were some interesting things about that particular period and about what turned him against England." I saw an arm fall off a man once,' said Kate. She turned the toasting-fork to see how the muffin was browning, then held it up to the fire again. We stared at her. I can see nothing through the frost flowers on the glass. I wonder if it is snowing yet, but I think it is too cold. It will only take a minute to rake out last night's fire and build up a fresh pyramid. There is always enough wood. All I have to do is walk out and gather it. There are five years of rotting trees and fallen branches which have been left to lie in the woods. First and foremost, Dunmore’s prose is stunning. With her sumptuous use of words, she evokes a rich, gothic setting, and a quietly sinister and claustrophobic atmosphere that I adored. Her characters are complex, difficult to root for and yet oddly sympathetic for all their flaws. By presenting them and their often deplorable actions without judgement, she asks us to question human boundaries, allowing the reader to draw their own conclusions in many instances.

This novel was the first winner of the Orange Prize for Fiction in 1996. I bought it after the book blogger Simon Savidge and his wonderful mother, Louise Savidge, started reading past winners of the Women's Prize for Fiction. The Orange Prize became the Bailey's Prize in 2012 and after 2017, the Women's Prize for Fiction. For the past two years, I have read a number of the longlisted titles, and look forward to the nominations and awards. When closely observing the paintings of Richard Tandy, Cathy notices that "the sky was so pale, it dazzled, and behind the wood there was a heap of hills, purple as damsons" (p. 86). Intrigued by the style, she suggests it represents a different "reality" and a different "language." Why did Mr. Bullivant want Cathy to see these works? In what kind of reality does Cathy exist? A Spell of Winter isn't lyrical so much as it is lulling. With the exception of a few bumbling sentences (such as " Elsie shudders exaggeratedly as she goes away in the early December dusk"), Dunmore's craft exudes an easy rhythm and dips in and out of the past and present with a fluidity akin to waves gently lapping at the shore.

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There is a war mentioned in this book and while they don't actually name the war at all, I'm guessing it may be world war one?? The author makes great use of closed spaces: the "snow-house" where the first incestuous union occurs (p. 99); the little "cottage" where the abortion takes place (p. 185); the tiny "clearing" where Miss Gallagher dies (p. 203). What relation do these physical landscapes have to the country estate? How do they correspond to the emotional landscape of the characters? Can you think of other enclosed spaces to which the author might be alluding? Oh, eight or so. A little younger than you and a little older than this one,' she said, tapping my head. She leaned forward and poked the fire. 'These muffins are like leather. Away down to the kitchen, Cathy, and ask Mrs Blazer for fresh.' With both parents gone, Catherine and Rob go and live with their grandfather in a mansion and befriend the helpers there. Eventually Catherine and Rob develop feelings for each other and the relationship becomes close. This leads to consequences and repercussions Catherine has to go through. This novel is set in England in the era of World War I. The war starts later in the novel, which was the first clue to the time in which the story is set. Cathy and her brother Rob live on a rural estate with their grandfather. Their mother abandoned her family and left for warmer parts of Europe. Their father's health declined after this and he was eventually committed to a sanatorium where he died. The siblings are left to their own devices with only an unlikeable governess, and a single servant to see to their needs.