In late September 1874, Margaret Prior makes her way through the pentagons of London's Millbank Prison, a place of fearful symmetry and endless corridors. This plain woman on the verge of 30 has come to comfort those behind bars, several of whom Waters brings to instant, sad life. And our Lady Visitor plans to take her role dead seriously, having recovered from two years of nervous indolence in her family's Chelsea house. One person, however, makes her job a passion. Opening an inspection slit (or "eye" as these devices are known), Margaret hears "a perfect sigh, like a sigh in a story." Peering inward, she's confronted by the most erotic of visions--a woman turned toward the sun, caressing her cheek with a forbidden violet: "As I watched, she put the flower to her lips, and breathed upon it, and the purple of the petals gave a quiver and seemed to glow..."
Selina Dawes may indeed have the face of a Crivelli angel, but this medium is in for fraud and assault, her last session having gone very badly indeed. Suffice it to say that the first full encounter between these two very different women is enthralling. "You think spiritualism a kind of fancy," Selina riddles. "Doesn't it seem to you, now you are here, that anything might be real, since Millbank is?" And soon enough Margaret receives several viable signs of the supernatural: a locket disappears from her room, flowers mysteriously appear, and her dazzling friend knows everything about her. Strangest of all, Selina seems to love her.
As Margaret records her weekly prison forays, her own past comes into focus, notably her plans to travel to Italy with her first love (who is now her sister-in-law). But her current journal, she convinces herself, is to be very different from her last one, which "took as long to burn as human hearts, they say, do take." Meanwhile, Waters offers a narrative two-for-one, placing Margaret's diary cheek by jowl with Selina's chronicle of her pre-Millbank existence. This dispassionate, staccato record initially suggests that we can separate truth from desire. Or can we? What Waters's haunting creation leaves us with is a more painful reality--that knowledge and belief are entirely different things. --Kerry Fried --This text refers to an out of print or unavailable edition of this title.
Ater finishing Affinity, I can hardly wait for her next book. Ms Waters write such a totally consuming story that it's hard to pull yourself away. Read morePublished on June 10 2004 by Dusty Chambers
This is a tough review. I have read both of Ms. Waters other books, 'Fingersmith' which is fantastic and 'Tipping the Velvet' which is very good. Read morePublished on May 14 2004 by S. A Troutt
I picked this up at my local library after reading heaps of praise for Sarah Waters and her three books: Tipping the Velvet, Affinity, and Fingersmith. Read morePublished on April 7 2004
Without going into a lot of detail, I just feel the need to express how wonderfully written and suspensful this was. Read morePublished on Feb. 4 2004 by agnes bonaparte
A much different setting than "Tipping the Velvet," Affinity has still managed to capture a dark side of Victorian London. Read morePublished on Aug. 23 2003 by Mizuho Kazami
I have now read all three of Waters novels, and I would say this is the best. It was hard to get into it and I almost didn't bother to continue, but I slogged through and by the... Read morePublished on Aug. 4 2003
Arguably, Sarah Waters is one of the most prolific contemporary authors of Victorian fiction. She has a gift of creating realistic and three-dimensional female protagonists... Read morePublished on June 30 2003 by S. Calhoun