Product Description

In Victorian England, an orphan girl is sent to a country estate to work for-and ultimately woo-its young heiress, on behalf of a mysterious benefactor known as Gentleman.

Product Details

• Amazon Sales Rank: #13912 in Books
• Published on: 2002-10-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 582 pages

Features

• ISBN13: 9781573229722
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

Amazon.com Review
Fingersmith is the third slice of engrossing lesbian Victoriana from Sarah Waters. Although lighter and more melodramatic in tone than its predecessor, Affinity, this hypnotic suspense novel is awash with all manner of gloomy Dickensian leitmotifs: pickpockets, orphans, grim prisons, lunatic asylums, "laughing villains," and, of course, "stolen fortunes and girls made out to be mad." Divided into three parts, the tale is narrated by two orphaned girls whose lives are inextricably linked. Waters's penchant for byzantine plotting can get a bit exhausting, but even at its densest moments--and remember, this is smoggy London circa 1862--it remains mesmerizing. A damning critique of Victorian moral and sexual hypocrisy, a gripping melodrama, and a love story to boot, this book ingeniously reworks some truly classic themes. --Travis Elborough, Amazon.co.uk

From Library Journal
In Victorian London, the orphaned Sue Trinder is raised by Mrs. Sucksby, den mother to a family of thieves, or "fingersmiths." To repay Mrs. Sucksby's kindness, Sue gets involved in a scam but soon regrets it. From the award-winning author of Tipping the Velvet.
Copyright 2001 Reed Business Information, Inc.

From Booklist
Waters' third novel, set in Victorian England, opens when Sue Trinder, an orphan raised by a band of thieves, is recruited by Richard Rivers, a con man known as Gentleman, to help him in his quest to marry Maud Lilly, an heiress living in isolation in the country with her eccentric uncle. Maud stands to inherit a small fortune when she marries, and Gentleman intends to marry her, steal her inheritance, and imprison her in a madhouse. Sue agrees to pose as a maid to Maud and to gain her confidence. But Sue finds Maud sweet and trusting, and, to her surprise, she begins to fall in love with Maud and have serious misgivings about Gentleman's plan. But Sue only knows a small part of the scheme, and it will affect both her and Maud in ways she does not realize. The intricate plotting and startling revelations will keep the reader enthralled, rapidly turning the pages to get to the exciting conclusion. Waters' gripping, engrossing thriller would make the Victorian master of suspense, Wilkie Collins, proud. Kristine Huntley
Copyright © American Library Association. All rights reserved

Customer Reviews

Pickpocketing the Pages of History
Sarah Waters' third novel begins simply enough. Sue Trinder is a teenage orphan who lives amongst a group of confidence men, thieves, baby farmers and fingersmiths (a 19th-century term for a pickpockets). An unscrupulous man commonly and ironically known as Gentleman compels Sue to join in his plot to win the heart of an elderly bookish man's niece named Maud. Maud is heiress to a fortune, but she can only claim it if she marries. The plan is: win the lady, ditch the wife in an insane asylum and split the fortune. Sue becomes Maud's maid and when the plot is reaching its timely conclusion is the exact point where it is fractured and split like a forest path into numerous twisting paths revealing long held secrets and hidden strife. Sue and Maud are made to endure separate trials in their journey including the incarceration in a mad house, the subjection of reading and transcribing appalling pornography to a perverted old man and a dangerous journey through treacherous London in search of a friend in order for them to discover what their true pasts consist of and what predestined traits may tweak their futures.

It is fitting that at the beginning of this novel a reference is made to Dickens' Oliver Twist. Fingersmith is a novel descended from Dickens voluminous library as well as much 19th century sensualist fiction. Waters skilled use of language to evoke characters and a sense of place through physical detail and psychological mapping of experience is a distinct characteristic of this descent. She also has a tremendous ability to use fabulous names such as (Mrs Sucksby and Miss Bacon) as Dickens did to mark poignant traits of her characters. Where Waters veers from Dickens is in her conjuring of robust female characters who can dominate the novel, not through the circumstances of their plight and their representation of certain social injustice, but through the powerful voice they use to assert their individual positions. Of course the great descriptions and plotting Waters uses to conjure this tale of a 19th century English plot to capture a family fortune makes a great many statements about the ways in which women were marginalised and the bizarre social positions they were forced to inhabit. However, the great strength of her brilliant protagonists Sue and Maud is in the way their actions are guided more by their impulsive desire to survive rather than to spur the trim, thrilling plot or subscribe to any societal roles presented to them. Their struggles led by these natures produces a longing for a happy resolution built not out of sentimentally contrived conventions, but a deserved reward for revealing to us their faulty human natures.

Sue and Maud are not angels. They both deceive and betray each other, but they discover in this Darwinian world a rare affection for each other and a chance to share confidence when one's closest family is apt to betray you. The curious mirroring effect Waters uses with them, mixing pasts and characteristics of them, is descended from a more recent literary genius, Angela Carter. There are elements of her ideas (particularly realised in her novel Wise Children) on the way identity can be splintered, performed and reimagined which correspond to the ways Susan and Maud's fates are intertwined. Their relationship is drawn out as a struggle to express their mutual love and define their suppressed lesbian desires. But this is also presented as an arduous task to realise the aspects which make them powerful individuals. This novel makes the remote past enticingly familiar and relates a harrowing story that makes you wish it to continue on and on.

The sublime Sarah Waters is god
This third book of hers clinches it. Sarah Waters is god. There is nothing she can't do. Tipping the Velvet was great; Affinity was beyond great; Fingersmith is sublime. Reading it took over my life. Okay, that's happened once in a while before with a really fine book. But I don't recall this ever happening before: being so engulfed by a book that it made me dizzy, feverish, downright sickened--and hey, if you don't get that these are good things then you're not a serious reader--in sum, it rendered me virtually incapable of going about my daily life, my head and heart were spinning so over Sue and Maud and their story.

Waters has singlehandedly reinvented--no, no, she transcends--lesbian fiction, a genre that up to now has consisted almost exclusively of embarrassing, dim, dismal, dumbed-down dreck. Her writing is literary, her plots are engrossing, her feel for time and place is flawless, and sheesh, she even pulls off incredibly sexy sex scenes that are beautiful, believable, move the story forward and leave the reader's heart pounding.

Fingersmith is breathtaking. Waters is an awesome talent. Goddamn. She does us lesbians proud.

Another great novel from Sarah Waters
After reading and enjoying Sarah Waters's previous novels, I knew Fingersmith would meet my expectations. However, I had no idea! Fingersmith, as usual, had the gorgeous, atmospheric qualities that I think is Sarah Waters's trademark. And of course, the writing is simply genius. But more than that, Fingersmith is fantastic -- this novel told a darn good story.

Set again in 19th century London, Fingersmith begins with Sue Trinder's tale as an orphan and a thief. She lives in a house filled with other orphaned babies and an assortment of pickpockets, or "fingersmiths," along with the lady of the house, Mrs. Sucksby, who took care of Sue since she was an infant. Now 17, Sue's opportunity to show her appreciation to Mrs. Sucksby finally comes -- in the form of Gentleman, a seedy con man and friend of the household. Gentleman is armed with a plan to make them all rich and enlists Sue as his helper. But things aren't always what they seem, and as the plan unfolds, all sorts of secrets and twists come unraveled.

Fingersmith is everything I had hoped it would be -- beautiful writing, a stunning cast of characters, and a riveting, compelling storyline. I was helplessly drawn into the slums of London as well as the drab, solemn English countryside where Sue and Gentleman spend their days spinning their treacherous web. I will admit that there weren't as many shocking surprises (for me, anyway) like Affinity, but this novel was much like Tipping the Velvet in how it pulls in the reader from the beginning with a rousing good story. I can't enough good things about Sarah Waters, her novels, and her talent. She's exceptional, and Fingersmith is nothing less than stellar.