Since the early 1970s, when she was in her mid-thirties, Emma Tennant has been a prolific novelist and has established herself as one of the leading British exponents of "new fiction." This does not mean that she is an imitator of either the French nouveaux romanciers or the American post-modernists, although her work reveals an indebtedness to the methods and preoccupations of some of the latter. Like them, she employs parody and rewriting, is interested in the fictiveness of fiction, appropriates some science-fiction conventions, and exploits the possibilities of generic dislocation and mutation, especially the blending of realism and fantasy. Yet, although parallels can be cited and influences suggested, her work is strongly individual, the product of an intensely personal, even idiosyncratic, attempt to create an original type of highly imaginative fiction.

Editorial Reviews

From Publishers Weekly

In the almost four decades since her suicide, Sylvia Plath has been idolized almost as much for her role as the deceived wife of Ted Hughes as for her poetic works. The couple's erotically charged meeting, initially idyllic marriage and later bitter estrangement are documented in Plath's journals and letters and in numerous nonfiction books. Before his death last year, Hughes published Birthday Poems, manifestly his version of their relationship. That there was a third party to their tragedy, Hughes's mistress, Assia Wevill, who herself committed suicide, has also been a matter of public record. Now British author Tennant, who memorialized her own relationship with Hughes in her memoir, Burnt Diaries (U.K., Canongate, 1999), imagines Sylvia's, Ted's and Assia's lives as told from each participant's point of view. As befits a story of a tragic love triangle among poets, Tennant writes lyrical and surcharged prose, with short chapters shot through with intense emotion. Though the narrative is initially overwrought and heavily portentous, she sustains the dramatically dark mood artfully, building to a fittingly mythic, cathartic ending. Her psychological insights into Plath's and Wevill's troubled personalities, which at first may seem gratuitously grim, shed light on their early experiences and emotional conditioning, and become more appropriate as Plath, Hughes and Wevill mature. Accelerating the dramatic suspense, Tennant alternates the feverish thoughts of three high-strung, complex personalities, and although the outcome is known, readers will feel the strong hand of fate in the collision of their passions and artistic ambitions. (May 12)Forecast: A must-read for Plath devotees, the novel also has enough appeal as well-crafted fiction to attract a discriminating audience of more general readers. It joins other recent (nonfiction) titles that have kindled fresh interest in the couple. Plath's unabridged diaries were published last year, and Ariel's Gift: Ted Hughes, Sylvia Plath and the Story of Birthday Letters is being released this month (Forecasts, Mar. 19).

Copyright 2001 Cahners Business Information, Inc.

From Library Journal

Ted Hughes and Sylvia Plath continue to evoke debate and commentary. Novelist Tennant, who recounted her own affair with Hughes in Burnt Diaries, offers a brittle, fictionalized account of the lives of Hughes, Plath, and Assia Wevill, the other woman in Ted's life. (Ironically, Wevill also later killed herself.) Full of portents and omens, the story is a series of oblique passages and lyrical descriptions, all issued in a clipped cadence with edges as jagged as the lives examined. Tennant is unsparing and the story relentless in its decline into despair and death. For literary collections and public libraries where there is demand.

- Jan Blodgett, Davidson Coll. Lib., NC

Copyright 2001 Reed Business Information, Inc.