»Though we can find interesting parallels between 2011 and the 1930s, including an eruption of vicious homophobia, for me these two outer sections lack the intensity and vitality of the novel proper, and could even deter readers from the main, richly worked excursion into obscure, sympathetically rendered lives.«
Paul Binding about the latest novel The Child’s Child by Barbara Vine (aka Ruth Rendell). Read his review at The Spectator.
»In The Child’s Child, one of the protagonists suggests that, while the British public might tolerate the gay community, the vast majority don’t want to know what they do in the bedroom. If their attention is drawn to it then surely, he argues, they will be disgusted. Does she [Ruth Rendell] think this is true? „I think it’s so significant,“ she says. „I think it’s at the root of all prejudice against male homosexuality. That’s why nobody really cares about lesbians, do they? It’s penetration that bothers them.“«
Writer and journalist Andrew Wilson (Beautiful Shadow: A Life of Patricia Highsmith) with a worth reading portrait about the „Ice Queen of crime fiction“ Ruth Rendell, also writing under her pen name Barabra Vine. He explains why her latest thriller The Child’s Child draws upon her own personal history – at The Independent.
»Suspense is my thing. I think I am able to make people want to keep turning pages. They want to know what happens. So I can do that. Mind you, I think this ought to apply to any fiction, because however brilliant it is in other respects, you don’t want to go on reading it unless it does that to you.«
Alison Flood with a portrait about Ruth Rendell, alias Barbara Vine, who recently has published her new novel The Child’s Child. Why Mrs. Rendell never met a murderer – read more at The Guardian.