Jeanette Winterson and Religion

Häftad, Engelska, 2021

AvEmily McAvan,Australia) McAvan, Dr Emily (Monash University,Emma Mason

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Since the publication of her first novel, Oranges Are Not the Only Fruit, Jeanette Winterson quickly established herself as a powerful and insightful writer on sexuality and gender. However, the profound and persistent religious themes of her work have received much less critical attention. Jeanette Winterson and Religion is the first in-depth study of the ways in which Winterson navigates the sacred and the profane in the full range of her writing, from her first novel to later works such as The PowerBook and The Stone Gods. This book reads the author's work alongside the theological turn in the thought of such theorists as Alain Badiou, John D. Caputo and Julia Kristeva as well as feminist and queer theologians such as Catherine Keller and Marcella Althaus-Reid. In this way, Jeanette Winterson and Religion reveals how Jeanette Winterson stakes out a unique and intriguing post-secular literary form of the sacred.

Produktinformation

Utgivningsdatum2021-06-17
Mått138 x 214 x 14 mm
Vikt287 g
FormatHäftad
SpråkEngelska
SerieNew Directions in Religion and Literature
Antal sidor224
FörlagBloomsbury Publishing PLC
ISBN9781350235953

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1. Introduction2. ‘I Love Both of Them’: Queer Love and the Religious in Oranges are not the Only Fruit 3. ‘Colours and Folly’: Retelling the Noah Story in Boating For Beginners4. The Love Event in The Passion5. Sexing the Cherry and the Monstrous Maternal6. Written on the Body and the Negative Theology Tradition7. Art & Lies: Literature in a Neoliberal Age8. Gut Symmetries, New Physics and Kabbalah9. The PowerBook and Virtual Culture10.Lighthousekeeping and the Religious Vocation11.The Stone Gods’ Climate Change Apocalypse12. Conclusion

McAvan’s text does not disappoint in the insights it offers. As well as creating a thorough and informative study of Winterson’s major works, McAvan also succeeds in her overall aim – to establish that, with a reappearance of the divine in the secular cultural space of postmodernism, Winterson creates an art of major import through a “return of the sacred in the post-secular world” (170).