365:"Once we recognize the basic ironic-absurdist thrust of the rhetoric of the book, we will see that love is an entirely appropriate theme of the story—because it is so paradoxical... Fowles takes great care to show that Clegg is like no other person we know. It takes Miranda a long time get rid of her successive stereotyped views of Clegg as a rapist, an extortionist, or a psychotic. She admits to an uneasy admiration of him, and this baffles her. Clegg defies stereotypical description."
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her life when, in effect, that life has come to a standstill." Cooper, who interprets the novel as a critique of "masculine sexual idealization", notes another paradox in the way the novel connects both photography and collecting as "twin obscenities in order to show the erotic worshipper, with his puritanical hatred of 'the crude animal thing' and his belief in his 'own higher aspirations', is himself prey to the desires he tries to reject."
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wrote of the novel: "John Fowles is a very brave man. He has written a novel which depends for its effect on total acceptance by the reader. There is no room in it for the least hesitation, the smallest false note, for not only is it written in the first person singular, but its protagonist is a very
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via scattered diary entries)—has the characters mirroring each other in a manner that is "richly ironic and reveals of a sombre and frightening view of life's hazards." Bagchee notes that "the two narrations frequently agree not only about physical descriptions of incidents that take place, but often
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Furthermore, Bagchee notes
Miranda's evolution as a character only while in captivity as another paradox in the novel: "Her growing up is finally futile; she learns the true meaning of existentialist choice when, in fact, she has very limited actual choice. And she learns to understand herself and
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The second part of the novel is narrated by
Miranda in the form of fragments from a diary that she keeps during her captivity. Miranda reminisces over her previous life throughout this section of the novel; and many of her diary entries are written either to her sister or to a man named G.P., whom
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and locks her up in the cellar of his house. He is convinced that
Miranda will start to love him after some time. However, when she wakes up, she confronts him with his actions. Clegg is embarrassed and promises to let her go after a month. He promises to show her "every respect", pledging not to
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The third part of the novel is narrated by Clegg. At first, he wants to commit suicide after he finds
Miranda dead; but, after he reads in her diary that she never loved him, he decides that he is not responsible for what happened to her and is better off without her. He buries her corpse in the
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Miranda tries to escape several times, but Clegg stops her. She also tries to seduce him to convince him to let her go. The only result is that he becomes confused and angry. As Clegg repeatedly refuses to release her, she begins to fantasise about killing him. After a failed attempt to do so,
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wrote that "Fowles invites us to defy his main character's excuses and read between the lines, and the facts paint a more chilling picture. Fred doesn't accidentally abduct
Miranda, there's a sense that he's been leading up to this event his whole life," and deemed Frederick Clegg "one of
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and holds her captive in the cellar of his rural farmhouse. Divided in two sections, the novel contains both the perspective of the captor, Frederick, and that of
Miranda, the captive. The portion of the novel told from Miranda's perspective is presented in
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Lake described his plan for using the women for sex and housekeeping in a "philosophy" videotape. The two are believed to have murdered at least 25 people, including two entire families. Although Lake had committed several crimes in the
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Bagchee notes the novel's greatest irony being that
Miranda seals her own fate by continually being herself, and that through "each successive escape attempt she alienates and embitters Clegg the more." Despite this, Bagchee views
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Miranda enters a period of self-loathing. She decides that to kill Clegg would lower her to his level. She refrains from any further attempts to do so. Before she can try to escape again, she becomes seriously ill and dies.
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study, a modern or postmodern piece of literature. John Fowles is well established as a master of language, using a variety of tools to convey different meanings and bring his characters closer to his reader."
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At first, Miranda thinks that Clegg has sexual motives for abducting her; but, as his true character begins to be revealed, she realises that this is not true. She begins to pity her captor, comparing him to
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The novel is about a lonely young man, Frederick Clegg, who works as a clerk in a city hall and collects butterflies in his spare time. The first part of the novel tells the story from his point of view.
311:"dramatizes the clash between a socially entrenched, wealthy middle class and an underprivileged but upwardly mobile working or lower middle class." Additionally, Cooper views the novel as a
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A stage adaptation by the actor Brian McDermott (writing as David Parker) was first performed in 1971; among its earliest productions was a West End presentation at the
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Bagchee notes that the divided narrative structure of the novel—which first presents the perspective of
Frederick, followed by that of Miranda (the latter divulged in
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has been adapted as a film and several times as a play. It's also referred to in various songs, television episodes and books; one example is in
Stephen King's book
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praised the novel as "brisk" and "professional," adding that Fowles "knows how to evoke the oblique horror of innocence as well as the direct horror of knowledge."
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view" and contains a significant number of events which are hinged purely on chance. He compares the world of the novel to the "tragically absurd worlds" of
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in April 2007. Yet another adaptation, by Tim
Dalgleish and Caz Tricks, was written for Bare Bones Theatre Company (of Wolverton, Milton Keynes) in 1997.
596:. The videotapes of his murders and a diary written by Lake were found buried near the bunker in Wilseyville. They revealed that Lake had named his plot
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special case indeed. Mr. Fowles's main skill is in his use of language. There is not a false note in his delineation of Fred." Hayden Carruth of the
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she respected and admired as an artist. Miranda reveals that G.P. ultimately fell in love with her and consequently severed all contact with her.
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because of his hopeless obsession with her. Clegg tells Miranda that his first name is Ferdinand (eventual winner of Miranda's affections in
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390:"one of the most prominent novels of the 20th century, may be viewed from many interesting perspectives – as a psychological thriller, a
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as a prominent point of interest in the novel. Critic Hayden Carruth noted that Fowles is preoccupied with "reshuffling classes under
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sexually molest her and to shower her with gifts and the comforts of home, on one condition: she can't leave the cellar.
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held his male victims captive and photographed their torture before killing them. He claimed that the film version of
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also in the way two very different characters react similarly to given situations or display similar attitudes."
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abducted 18-year-old Kathy Allen and later 19-year-old Brenda O'Connor. Lake is said to have been obsessed with
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In October 2021, Suntup Editions announced a limited 1000 editions of the novel with an introduction by
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by the same name in 1965. The screenplay was by Stanley Mann and John Kohn, and it was directed by
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1033:"'The Collector': John Fowles' Novel Gets a Stunning Limited Edition Release from Suntup Editions"
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Some scholars have compared the power struggle between Frederick and Miranda as exemplifying the
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as Clegg. Another adaptation - written, again, by an actor: Mark Healy - was first performed at
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Bagchee, Syhamal (1980). ""The Collector": The Paradoxical Imagination of John Fowles".
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Otherness, Recognition and Power: The Hegelian Themes in John Fowles's The Collector
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Fowles wrote the novel between November 1960 and March 1962. It was adapted into an
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Lasseter, D. (2000). "Die For Me." New York: Kensington Publishing Company
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was the basis, the inspiration, or the justification for their crimes.
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Clegg is obsessed with Miranda Grey, a middle-class art student at the
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was loosely inspired by the novel, according to the film's director.
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garden. The book ends with his thinking of kidnapping another girl.
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After careful preparations, he kidnaps Miranda by drugging her with
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Literary scholars have noted the theme of class in the British
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1137:(2). Bloomington, Indiana: Indiana University Press: 219–234.
673:. Binghamton, New York. p. 28 – via Newspapers.com.
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Verbal Struggle for Power in "The Collector" by John Fowles
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The Fictions of John Fowles: Power, Creativity, Femininity
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The Fictions of John Fowles: Power, Creativity, Femininity
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in his possession when he was killed by police in 1984.
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1482:Jonathan Cape books
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998:(in Swedish)
996:expressen.se
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921:Theatricalia
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886:. Retrieved
884:(in Finnish)
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876:"Neitoperho"
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857:The Guardian
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1368:Non-fiction
1294:John Fowles
1108:15 February
1073:15 February
976:15 February
951:15 February
926:15 February
774:Cooper 1991
708:Cooper 1991
696:Cooper 1991
471:. The 1980
433:Adaptations
335:Franz Kafka
290:bourgeoisie
257:The Tempest
252:The Tempest
247:Shakespeare
185:–nominated
167:John Fowles
50:John Fowles
1446:Categories
1044:19 October
635:References
571:Charles Ng
551:kidnappers
504:Neitoperho
478:Moodu Pani
359:love story
230:chloroform
176:epistolary
161:is a 1963
1419:The Magus
1392:Wormholes
1317:The Magus
1292:Works by
1206:1339-4045
1143:0022-281X
904:The Stage
623:In 1988,
575:In 1985,
399:Reception
331:absurdist
149:472571199
84:Publisher
60:Tom Adams
1384:The Tree
1357:A Maggot
1349:Mantissa
1235:Archived
1210:Archived
684:Lee 2005
297:Hegelian
249:'s play
112:May 1963
78:Thriller
66:Language
1151:3831229
1121:Sources
1018:"Plays"
392:Jungian
323:In the
307:, that
243:Caliban
69:English
1430:(1981)
1422:(1968)
1414:(1965)
1395:(1998)
1387:(1979)
1379:(1964)
1360:(1985)
1352:(1982)
1344:(1977)
1336:(1974)
1328:(1969)
1312:(1963)
1301:Novels
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881:Elonet
443:Misery
313:Gothic
219:Sussex
178:form.
171:London
99:(U.S.)
46:Author
1238:(PDF)
1227:(PDF)
1213:(PDF)
1190:(PDF)
1147:JSTOR
1002:2 May
475:film
223:Lewes
221:near
133:Pages
74:Genre
1202:ISSN
1168:ISBN
1139:ISSN
1110:2021
1075:2021
1046:2021
1004:2017
978:2021
953:2021
928:2021
890:2023
579:and
569:and
467:and
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201:Plot
193:and
143:OCLC
93:(UK)
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