![]() ![]() The only way for the reader to achieve a secure perspective on the novel is to repeat the experience and become a re-reader, returning. The idea of ‘plotting’ itself takes on a double meaning in this context, positioning the author herself as adroit a ‘double-crosser’ as any of the schemers in the narrative itself. This is a text obsessed with knowledge, and the recurring question of who knows everything and who knows nothing raises pressing concerns about identity and authenticity that come to preoccupy the characters and their audience. ![]() In Fingersmith, this demand surfaces via Water’s manipulation of the trope of doubling, presenting the reader with two narrators who both know less than they realize, and whose different versions of the same events resist symmetrical alignment. Chapter Summary: This essay argues that a recurring characteristic of Sarah Waters’ work as a whole is that it is written to be re-read. ![]()
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