Table of Contents

PART ONE
Art Objects

PART TWO
Transformation
    Writer, Reader, Words
    Testimony Against Gertrude Stein
    A Gift of Wings (with reference to Orlando)
    A Veil of Words (with reference to The Waves)


PART THREE
Ecstasy and Energy  
    The Semiotics of Sex     
    The Psychometry of Books   
    Imagination and Reality  
    Art & Life   
    A Work of My Own

About the Author

A novelist whose honours include England’s Whitbread Prize, and the American Academy’ s E. M. Forster Award, as well as the Prix d’argent at the Cannes Film Festival, Jeanette Winterson burst onto the literary scene as a very young woman in 1985 with Oranges Are Not the Only Fruit. Her subsequent novels, including Sexing the Cherry, The Passion, Written on the Body, and The PowerBook, have also gone on to receive great international acclaim. Her latest novel is Lighthousekeeping, heralded as "a brilliant, glittering, piece of work" (The Independent). She lives in London and the Cotswolds.

Reviews

"Jeanette Winterson is one of Britain's brightest alternative literary lights. Her quirky, madly poetic prose has won her a loyal cult following and a lot of respect from the mainstream." H.J.Kirchhoff, The Globe and Mail

"Thrilling, persuasive, challenging and written with a skill and beauty entirely shorn of artifice. . . . Should be bought, read, re-read and read out loud as often as possible." Edmonton Journal

"Brilliant essays, the finest I've read in years, a wonderful, timely endorsement of what art is and what it isn't. In 10 separate ways, from 10 different angles, she takes clear, intelligent aim at the modern wish that art be less arty, and more entertaining; that art be easier for people to chew and quickly digest. . . . Should be required reading." Ottawa Citizen

"It is invigorating to read these essays by a woman who believes in art, full stop." The Globe and Mail

"A delight. . . . I find Winterson an invigorating critic, as well as an exhilarating literary soul mate. . . . At a time when literary commentary is bogged down by dense, impenetrable post-modern and post-structuralist twaddle, Art Objects . . . offers itself as a breath of fresh thought and fresh expression." Kitchener-Waterloo Record

"Brilliant, challenging, funny, highly personal." Family Practice

"A witty, reasoned look at the power of, and our powerful need for, all forms of art." Ottawa Citizen

"A book of essays to set your intellect on fire." Bruce Powe, The Financial Post

"Potent. . . . Part soulful meditation and part fiery manifesto. . . . Ms. Winterson is a passionate writer. . . . Hers is a book born of a restless, uncompromising intelligence and a life of practicing what she preaches, of taking the kind of artistic risks she so fiercely espouses." The New York Times Book Review

"Winterson is in fine form in these essays about art, arguing, admonishing, infuriating, teasing. . . . She fights solemnly, beguilingly, for ecstasy and silence and the revival of our ability to contemplate. . . . She says much that is important about energy and passion. Her stalwart defence of the modern is a challenge to the barrenness and niggliness with which we live." The Observer (UK)

"There is no denying the beauty and precision of her writing, nor the clarity of her expression. . . . On her heroines—Stein, Woolf, Eliot, books themselves—she is particularly strong and passionate. Through it all, a central theme occurs: that art, true art, is and will remain a vital force, without which life is scarcely worthy of the name." Time Out (UK)