A review by sherbertwells
Fingersmith by Sarah Waters

adventurous emotional hopeful tense fast-paced
  • Plot- or character-driven? Plot
  • Strong character development? Yes
  • Loveable characters? Yes
  • Diverse cast of characters? No
  • Flaws of characters a main focus? Yes

3.0

“My name, in those days, was Susan Trinder” 

When the leader of my local GSA suggested reading Sarah Waters’ novel Fingersmith, her one-word pitch was “Dickensian.” After reading the book, I find this comparison less than apt: what makes a book “Dickensian” in the first place? The weird names? The reversals of fortune and revelations of inheritance? The emphasis on morality? Fingersmith has all of those and more.

But despite his authorial virtues, Charles Dickens could not have written Fingersmith for the simple reason that it’s too gay for his Vicotrian sensibilities. The novel’s premise—an experienced criminal named “Gentleman” recruits a naïve girl for the con of a lifetime—is a mere tchotchke in Dickens’ wheelhouse. But none of his corseted (albeit progressive) stories would allow Susan Trinder and Maud Lilly to fall in love. Nor would they be written from Sue’s earnest, slangy first-person perspective. The credit for this style belongs entirely to Sarah Waters, the Welsh novelist who has made queer historical fiction her bread and butter.

Known for sapphic Victorian adventures like Tipping the Velvet and Affinity, Waters expands on the best aspect of Dickens: his combination of humor and empathy. Her characters, especially Sue and the maternal fence Mrs. Sucksby, are surprisingly nuanced and she includes lots of writerly flourishes that make the reading experience enjoyable. Take the scene where Gentleman teaches Sue how to “dress” a chair:

“He squatted at the side of the chair and smoothed his fingers over the bullying skirts; then he dipped his hand beneath them, reaching high into the layers of silk. He did it so neatly, it looked to me as if he knew his way, all right; and as he reached higher his cheek grew pink, the silk gave a rustle, the crinoline bucked, the chair quivered hard upon the kitchen floor, the joints of its legs faintly shrieking. Then it was still” (34)

Sexy, right?*

Besides the desire for queer representation, the main draw of Waters’ books is their author. Like Dickens, Sarah Waters is a brand—but not one I’m terribly interested in buying. Fingersmith is a fun story but not a particularly great one.

If you grew up on Six of Crows and are ready for something more adult or are a Useless Lesbian™ looking for a heroine like yourself, you might enjoy Fingersmith or the rest of Waters’ catalog. Her books are cool. They’re twisty. They’re gay as heck.

But don’t call them “Dickensian.”

*I have no idea if this is sexy.

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