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Illuminations: A Fable
When Hetty Dearden leaves her lover and her teaching job to live in the English countryside and translate the letters of Tetta, an English abbess in pre-Carolingian Germany, her life gets complicated when she begins an affair with Helge Ebbesen, who helps her get copies of Tetta's letters from former East German archives
- GenresFiction
248 pages, Hardcover
First published January 1, 1992
14 people want to read
About the author
Maureen Duffy
63 books15 followersMaureen Patricia Duffy (born 21 October 1933) is a contemporary British novelist, poet, playwright, nonfiction author and activist.
Duffy's work often uses Freudian ideas and Greek mythology as frameworks.[1] Her writing is distinctive for its use of contrasting voices, or streams of consciousness, often including the perspectives of outsiders. Her novels have been linked to a European tradition of literature which explores reality through the use of language and questioning, rather than through traditional linear narrative.[2] James Joyce in particular, and Modernism in general, are significant influences on her fiction, as is Joyce Cary.[3] "Duffy has inspired many other writers and proved that the English novel need not be realistic and domestic, but can be fantastical, experimental and political."[1] Her writing in all forms is noted for her 'eye for detail and ear for language'[4] and "powerful intense imagery".[5]
Duffy's work often uses Freudian ideas and Greek mythology as frameworks.[1] Her writing is distinctive for its use of contrasting voices, or streams of consciousness, often including the perspectives of outsiders. Her novels have been linked to a European tradition of literature which explores reality through the use of language and questioning, rather than through traditional linear narrative.[2] James Joyce in particular, and Modernism in general, are significant influences on her fiction, as is Joyce Cary.[3] "Duffy has inspired many other writers and proved that the English novel need not be realistic and domestic, but can be fantastical, experimental and political."[1] Her writing in all forms is noted for her 'eye for detail and ear for language'[4] and "powerful intense imagery".[5]
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