‘City of Thorns’ is on the scale of love and desire

“City of Thorns” is a work based on the love between women. Desire, conspiracy and love are intertwined in the background of the Victorian era, making the plot The twists and turns are bizarre and fascinating.
  Su and Maud, a person who grew up in a dark underclass in London, but retains a pure heart; a life in the seemingly bright upper class, but becomes dark and complicated. They are connected because of a conspiracy that has been planned for 18 years. They deceive each other and develop a secret relationship. The two are entangled between love and desire, and the truth of the matter is far beyond their expectations. Which side of the balance formed by love and desire will ultimately tilt, the author will finally give the answer.
  What is commendable is the narrative style of the book. The author adopts a two-perspective three-paragraph narrative structure: the first part is described from Su’s perspective, the second part is replaced by Maude, and the third part is the truth. As the narrator changes, the reader’s emotions are sometimes lingering, sometimes hysterical. Themes such as anger, madness, desire, love, revenge and freedom are reflected in the complex narrative structure.
  The original name of the book, Fingersmith, is indeed intriguing: Su, who wandered in the den of thieves, is naturally inseparable from Finger; and the gloves Maud was forced to wear and the finger marks in his uncle’s study are also closely related to Finger; Smith is Su. The pseudonym used to come to Maud as a maid; Finger and smith are connected, and it is another name for pickpocket (thief) in the 19th century, mostly referring to skilled thieves who have never been caught. Taking this word as the title of this book naturally reflects the author’s ingenious intentions.
  Author Sarah Waters, one of Britain’s finest young novelists, developed a strong sense of life in 19th-century London when she wrote her doctoral dissertation, A History of Gay Literature, 1870-present, at the University of London. Interested, so I started writing novels. His masterpieces “Tipping the velvet”, “Amnity” and “Fingersmith” are collectively known as the Victorian trilogy.
  The “grand narrative” of postmodern writers Edgar   Lawrence Doctorow
‘s father named him after Edgar Allan Poe. How will this affect him? He said that it was only in middle school
At the time, he imitated and wrote detective novels and Gothic novels. But he refused to accept D.H. Lawrence’s comment that Poe’s writing of Gothic novels was mental deterioration, arguing that Poe’s work “has a pretentious style, full of rhetorical branches and thorns of the prose writer, if you want to read a story, You have to cut through the hurdles and forge a path.” He saw Poe “infuse universal existential terror into the Gothic novel” and even saw Poe and his contemporaries “predict the future of modern man as implied in the Constitution by the Founding Fathers”.
  Doctorow studied philosophy and drama in college and graduate school, and after he wrote novels, he became more interested in history. “History belongs more to novelists and poets than to historians,” he said. Fiction and history “are both narratives.”
  Doctero says this not just because he pioneered novels by postmodern writers with a “prominent focus on history”; he does believe that the stories that make up novels “are a body of knowledge.” “All stories, whether written as novels or screenplays, are nothing more than revealing structures of facts. They connect the visible with the unseen, the present with the past.”
  This would be out of place Think of it, we have an academic journal “Literature, History and Philosophy” that has some background and history, and think that we have always had a tradition of “indistinguishable literature and history”.
  In this collection of essays “The Creator of the Soul”, there are 16 speeches, speeches, or introductions and postscripts to a book, published at different times and on different occasions, about the Bible, classic writers, comedians, scientists and nuclear bomb. Fragments of a place can be “collaged” by postmodernism and become a “grand narrative” that praises human creative behavior. The writer explores the subtleties in the process of human creation because he is convinced that “human beings know the world through everything they create”. And “human creativity seems unstoppable”.