You can read her answers to those questions and more, below.
I was interested in hearing about her experience seeing her novels translated to the screen, why this period of British history was so fascinating to her, and what it was like to tell a story through the eyes of a toxic male narrator. The two work together as companion pieces almost, each offering new texture to the experience of the consuming the other. I spoke with Waters after tearing through her novel, which I bought shortly after watching the film. Told through the perspective of Faraday (Gleason), an unassuming local doctor who insinuates his way into the family's home and life as both those things start unraveling, The Little Stranger has elements of the supernatural and mysterious, but is ultimately a tale of power and patriarchy, and, as Waters told me over the phone recently, "the futility that can come with clinging on to the past." The plot opens in post-World War II England, and centers around a dilapidated country estate, Hundreds Hall, and the upper-class Ayres family who has long inhabited Hundreds, though is no longer able to take care of it. Though I've long been a fan of Waters' work, I had not yet read her 2009 novel, The Little Stranger, prior to seeing its new film adaptation, directed by Lenny Abrahamson, and starring Domhnall Gleason, Ruth Wilson, and Charlotte Rampling. Her characters and their lives stick in you, like burrs, and then pull you along into their darkness. Few authors working today are as capable of writing novels as profoundly unsettling as Sarah Waters.
0 kommentar(er)
