Sarah Waters impressed both gay and straight readers alike with the release of her first novel, Tipping the Velvet, a lesbian romp through Victorian England. Her next two books, Affinity and Fingersmith, completed her “Victorian Trilogy” and in her forth novel, The Night Watch, Waters moved into the forties by bringing to life London during the Blitz.
All three of Waters’s Victorian novels were adapted for television, and The Night Watch is currently in development with the BBC. She has won numerous awards, including Orange prizes and the Somerset Maugham award, and was listed as one of Granta’s Best of Young British Novelists in 2003.
I recently meet up with Waters in New York as she began her tour to promote her latest novel, The Little Stranger, a gothic postwar tale of a haunted house. She talked about her writing process, why she never reads her own work once it’s been published, and how lesbian readers haven’t “lost her” despite the lack of lesbian characters in The Little Stranger.
AfterEllen.com.com: Your new novel, The Little Stranger, centers around an eccentric family, the Ayres, a lonely bachelor, Dr. Faraday, and a haunted house, Hundreds Hall. What inspired this story?
I was especially interested in how the war had shaken up the British class system. After the war, the Labour government was voted in and the working class felt empowered, or at least they wanted to make changes, and the upper middle class as a result felt really under attack. That idea of them being under attack really interested me so I thought I’d make a move out of London. I liked the idea of a country house that was collapsing because its owners couldn’t afford it and couldn’t get service anymore.
The supernatural element came in pretty late in the planning process, but then I suddenly thought, actually, the best way to represent this sense of menace and attackness might be through a haunted house. I saw an opportunity to write a real proper haunted house novel.
AE: You’ve said that you began your Victorian novels with a focus on plot, and The Night Watch with a focus on character. In The Little Stranger, the point of view of Dr. Faraday as an unreliable first-person narrator was an interesting technical choice. Did you have a particular focus for this book?
Dr. Faraday was very much like them, a middle class country doctor, a friend of the family, and he was going to report these tragedies from a distance, not really understanding them. But then he became much more interesting to me as he became more complicated and that made the book much richer for me. He essentially becomes a bit of an unreliable narrator. Not in the sense that he’s lying to us — I don’t think he is anyway — but there are things going on that he can’t appreciate.
AE: I think it has to do with his perception. He is such a unique filter and lens not only because he is both the outsider and the insider, but because he’s experiencing this family and these happenings for the first time alongside the reader.
AE: There is a strong theme of entrapment in many of your novels — whether it’s sexual, emotional, or literally having the character in a prison or an asylum — but in The Little Stranger, it’s the home. Hundreds Hall imprisons the family emotionally and financially, which has a different weight to it.