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By Diana Evans

SHORTLISTED FOR THE WHITBREAD FIRST NOVEL AWARD

Identical twins, Georgia and Bessi, dwell within the loft of 26 Waifer road. it's a position of beanbags, nectarines and secrets and techniques, and viewers should always knock prior to getting into. Down under there isn't such concord. Their Nigerian mom places cayenne pepper on her Yorkshire pudding and has mysterious methods of facing homesickness; their father angrily roams the streets of Neasden, prey to the demons of his Derbyshire upbringing. compelled to create their very own identities, the Hunter young ones construct a separate universe. Older sister Bel discovers intercourse, excessive heels and natural hairdressing, the twins organize for a flapjack empire, and child sister Kemy learns to moonwalk for Michael Jackson. it's whilst the truth comes knocking that the fantasies of early life begin to crumple. How will Georgia and Bessi cope in an international of separateness and solitude, and which ones should be stronger?

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Let us skip sex. Have you ever been psychoanalyzed? Have I been what? Subjected to psychoanalytical examination. Why, good God? In order to see how it is done. Some critics have felt that your barbed comments about the fashionability of Freudianism, as practiced by American analysts, suggest a contempt based upon familiarity. Bookish familiarity only. The ordeal itself is much too silly and disgusting to be contemplated even as a joke. Freudism and all it has tainted with its grotesque implications and methods appears to me to be one of the vilest [23] deceits practiced by people on themselves and on others.

The index alone runs to 5,000 cards in three long shoe boxes; you see them over there on that shelf. My translation is, of course, a literal one, a crib, a pony. And to the fidelity of transposal I have sacrificed everything: elegance, euphony, clarity, good taste, modern usage, and even grammar. In view of these admitted flaws, are you looking forward to reading the reviews of the book? I really don't read reviews about myself with any special eagerness or attention unless they are masterpieces of wit and acumen-which does happen now and then.

The middlebrow or the upper Philistine cannot get rid of the furtive feeling that a book, to be great, must deal in great ideas. Oh, I know the type, the dreary type! He likes a good yarn spiced with social comment; he likes to recognize his own thoughts and throes in those of the author; he wants at least one of the characters to be the author's stooge. If American, he has a dash of Marxist blood, and if British, he is acutely and ridiculously classconscious; he finds it so much easier to write about ideas than about words; he does not realize that perhaps the reason he does not find general ideas in a particular writer is that the particular ideas of that writer have not yet become general.

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