FICTION · EXHIBITIONS
Marina Warner
Also known as: MARINA WARNER, Marina, Warner
Dame Marina Sarah Warner (born 9 November 1946) is an English historian, mythographer, art critic, novelist and short story writer. She is known for her many non-fiction books relating to feminism and myth. She has written for many publications, including The London Review of Books, the New Statesman, Sunday Times, and Vogue. She has been a visiting professor, given lectures and taught on the faculties of many universities. She resigned from her position as professor in the Department of Literature, Film and Theatre Studies at the University of Essex in 2014, sharply criticising moves towards "for-profit business model" universities in the UK, and is now Professor of English and Creative Writing at Birkbeck, University of London.
IN HIS URGENT MISSIVE to the Galatians, St. Paul stresses that Jesus was fully human and yet the son of God.
— from Alone of All Her Sex
Most acclaimed
Long Ago and Far Away
In 12th-century Ireland, Hildie grows up under the watchful eye of her first and true love, Kieron, an inhabitant of the Fairy Kingdom, but when Hildie is of a marriageable age, a curse on both their worlds threatens to keep them apart forever.
Stranger Magic
Our foremost theorist of myth, fairytales, and folktales explores the magical realm of the imagination where carpets fly, objects speak, dreams reveal hidden truths, and genies grant prophetic wishes. Stranger Magic examines the wondrous tales of the Arabian Nights, their profound impact on the West, and the progressive exoticization of magic since the eighteenth century, when the first European translations appeared. The Nights seized European readers' imaginations during the siècle des Lumières, inspiring imitations, spoofs, turqueries, extravaganzas, pantomimes, and mauresque tastes in dress and furniture. Writers from Voltaire to Goethe to Borges, filmmakers from Raoul Walsh on, and countless authors of children's books have adapted its stories. What gives these tales their enduring power to bring pleasure to readers and audiences? Their appeal, Marina Warner suggests, lies in how the stories' magic stimulates the creative activity of the imagination. Their popularity during the Enlightenment was no accident: dreams, projections, and fantasies are essential to making the leap beyond the frontiers of accepted knowledge into new scientific and literary spheres. The magical tradition, so long disavowed by Western rationality, underlies modernity's most characteristic developments, including the charmed states of brand-name luxury goods, paper money, and psychoanalytic dream interpretation. In Warner's hands, the Nights reveal the underappreciated cultural exchanges between East and West, Islam and Christianity, and cast light on the magical underpinnings of contemporary experience, where mythical principles, as distinct from religious belief, enjoy growing acceptance. These tales meet the need for enchantment, in the safe guise of oriental costume.