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Of course that is not the whole story, but that is the way with stories; we make them what we will. It’s a way of explaining the universe while leaving the universe unexplained, it’s a way of keeping it all alive, not boxing it into time. Everyone who tells a story tells it differently, just to remind us that everybody sees it differently. Some people say there are true things to be found, some people say all kinds of things can be proved. I don’t believe them. The only thing for certain is how complicated it all is, like string full of knots. It’s all there but hard to find the beginning and impossible to fathom the end. The best you can do is admire the cat’s cradle, and maybe knot it up a bit more. History should be a hammock for swinging and a game for playing, the way cats play. Claw it, chew it, rearrange it and at bedtime it’s still a ball of string full of knots. Nobody should mind. Some people make a lot of money out of it. Publishers do well, children, when bright, can come top. It’s an all-purpose rainy day pursuit, this reducing of stories called history.


Jeanette Winterson


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Winterson's subsequent novels explore the boundaries of physicality and the imagination gender polarities and sexual identities and have won several literary awards. She also bought a derelict terraced house in Spitalfields east London which Jeanette Winterson refurbiJeanette Wintersond into a flat as a pied-a-terre and a ground-floor shop Verde's to sell organic food. Bibliography
Oranges Are Not the Only Fruit (1985)
Boating for Beginners (1985)
Fit For The Future: The Guide for Women Who Want to Live Well (1986)
The Passion (1987)
Sexing the Cherry (1989)
Oranges Are Not The Only Fruit: the script (1990)
Written on the Body (1992)
Art & Lies: A Piece for Three Voices and a Bawd (1994)
Great Moments in Aviation: the script (1995)
Art Objects.

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