Click to increase image sizeClick to decrease image size Notes 1. ‘Englishness was white, male, southern, Protestant, and middle class. I was a woman, a Catholic, a northerner, of Irish Descent … All these markers—descent, religion, region, accent—are quickly perceived and decoded by those who possess Englishness, and to this day they are used to exclude. You are forced off centre. You are a provincial. You are a spectator. If you want to belong to Englishness, you must sell off aspects of your identity’ (Mantel 2007 Mantel , Hilary . 2007 . Ghost writing . The Guardian , Saturday 28 July. Available from http://books.guardian.co.uk/review/story/0,,2136130,00.html (accessed 30 July 2010 ). [Google Scholar], 96). 2. Eight Months on Ghazzah Street seems to fit most definitions of the Gothic, whether that is the genre's richness in ‘offering a symbolic expression of female paranoia’ (Felski 2003 Felski, Rita. 2003. Literature after feminism, Chicago: University of Chicago Press. [Crossref] , [Google Scholar], 152) or its tendency to draw ‘on the condensed associative and emotional power of archetypal symbols—houses, veils, fathers, virgins—coating them with ever more charged layers of meaning’ (2003, 153). The fate of Frances in Eight Months on Ghazzah Street fits Felski's ‘typical’ gothic blurb well: ‘Stranded in an isolated setting, the heroine uncovers an unspeakable secret and is subject to terrible dangers …’ (151). 3. She has also produced a good deal of short criticism, including 15 years of critical contributions to the London Review of Books. 4. In Vacant Possession we get another dark mention of balconies, those questionable extensions to home. On hearing she is likely to be re-housed in a council tower block owing to some project of urban re-development, Muriel Axon says she ‘shan't mind’, what with the consolation of being able to ‘throw things off the balconies’ (1986, 29). 5. Levi writes, here, with a very specific historical context in mind, that of the difficult—if not impossible—obligation placed on the survivor of the death camp to ‘recount not only our own fate, but that of the others, the submerged’ (1995, 64). I hesitate to re-position his usage here, but believe it has the power to illuminate the moral and imaginative project of Mantel's fiction.
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