![]() The exuberance and experimentalism of The Passion (1987) and Sexing The Cherry (1989) were soon subsumed within her own weighty prophesies. The evangelical fervour of her childhood, which she used as a basis for Oranges, had transmuted into an absurd, messianic self-belief in adulthood, it was said. ![]() ![]() Almost a decade after the rapturous reception of her debut, Oranges Are Not the Only Fruit, in 1985, the primacy of Winterson's image was swiftly outflanking her own modernist agenda of the primacy of the text. The period she is describing with such elliptical rawness followed the publication of Art And Lies, her sixth novel, in 1994. It's jarring - she normally speaks demandingly swiftly, in complete and perfectly grammatical sentences. "If you come through that with your joy returned to you. "It's no secret that the 90s weren't a great decade for me, so maybe that's why I'm glad they're gone," says Winterson, neat and tiny in the parlour of the east London house she renovated from derelict, and which remains her occasional city base. ![]() Where does she end and the story around her begin? How does reputation happen? But the truth is many-minded, and the easiest facts mislead. ![]()
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