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'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew Taylor With No Crying (1980), Celia Fremlin's eleventh novel, tells of Miranda, a daydreaming fifteen-year-old schoolgirl who has encouraged a boy to seduce her and is glad to find herself pregnant, but then bitterly resentful when her parents talk her into an abortion. She pads up her stomach, runs away from home, and finds refuge in a squat where her new housemates await the newborn keenly. How, though, can Miranda save face? 'An acute piece of social observation, psychological insight, and intuitive sympathy that makes for a very satisfying read... Quite brilliant, nicely understated, and tantalisingly real.' Hampstead & Highgate Express… (meer)
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
She looked terribly young to be pregnant, but all the same she made a charming picture in her bright, flowered maternity smock, with her fair hair bouncing against her shoulders as she stepped along the sunny pavement. The women passing by, especially the older ones, whose child-bearing days were over, would give her a quick, furtive glance of curiosity not unmixed with envy; recalling, perhaps, the days when they, too, had dwelt at the throbbing heart of things, carrying within them the whole secret of life.
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Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew Taylor With No Crying (1980), Celia Fremlin's eleventh novel, tells of Miranda, a daydreaming fifteen-year-old schoolgirl who has encouraged a boy to seduce her and is glad to find herself pregnant, but then bitterly resentful when her parents talk her into an abortion. She pads up her stomach, runs away from home, and finds refuge in a squat where her new housemates await the newborn keenly. How, though, can Miranda save face? 'An acute piece of social observation, psychological insight, and intuitive sympathy that makes for a very satisfying read... Quite brilliant, nicely understated, and tantalisingly real.' Hampstead & Highgate Express
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