Rosa, unable to accept her own “wasted years” (84) and misfortunes, spent her time “rag. Apparently, Edith’s politically displaced mother, Rosa, raised in an era which offered few opportunities for women, “bequeathed her own cloud of unknowing” (4). But even though displaced sociologically, Edith should have benefited from the contiguity of a female, presumably her mother.įor Giuliana Giobbi, mentioned in “Blood ties: a case-Study of Mother Daughter relationships in Anita Brookner," by Sara Maitland and Rosetta Lox (1997), states that, “a woman's sense of identity, as well as her view of her place in society, is likely to be largely shaped in response to her relationship with the woman who has served as her earliest model” (1). She grew up as a minor within a minority – a circle enclosed within a circle. Edith seems to choose to accept her role as a diminished woman despite her achievements, an acceptance that stems from her home life as a child.Įdith, the daughter of immigrants and even more so as a woman, has become an unconscious victim of marginalisation. In Anita Brookner’s novel, Hotel du Lac (1993), Edith Hope, a romantic novelist, resides in a Swiss hotel in preparation for her return to society. Image by David Martyn HuntĪnita Brookner's Booker Prize winning novel, Hotel du Lac, reveals how a female writer's lack of self stems from childhood experiences and stereotyping.
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