Then Fingersmith (2002) channeled the overheated melodrama of Wilkie Collins in a complicated page-turner involving an asylum, secret fortunes, and switched identities. It’s this particular fascination of Waters’s - the class system with its rules, roles, and repressions coloring every aspect of personal and professional relationships - that reveals her as a quintessentially British writer and suggests why, in her last three novels, she’s been drawn to postwar flashpoints of social transition, and to the confusion and unhappiness they engender.Īfter her celebrated debut in 1998 with Tipping the Velvet, a lively romp through late-19th-century London’s theatrical demimonde, Waters explored Victorian spiritualism and women’s prisons in Affinity (1999). IN THE PAYING GUESTS, her sixth novel, Sarah Waters expands on one of the most prominent themes of her last novel, The Little Stranger: class upheaval after a war in which men of all backgrounds have fought and died together, and women of all backgrounds have experienced new independence, responsibility, opportunities, and loss.
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