That´s why, Wedon´s faithful readers are always grateful for her yearly publications. In the Edinburgh Festival a presenter said that she could even connect different stages of her life with the various novels published by Weldon in those years. And, as for me, I´m very happy to have been part of the experience Weldon´s phenomenon offers long before I started this thesis.
An outstanding adaptation to their medium bordering on the frivolous rescues Weldon´s heroines from their plights and, on occasions, introduces us in the sphere of the picaresque, let´s think, for instance in Darcy´s Utopia. This feature, which in Weldon reaches transgressive levels, also characterices her writing and is probably one of the reasons why her narrative has become an anathema in some official circles. Nonetheless, the masterful absorption in her novels of prevalent tastes and of the reality surrounding her underlies that empathetic and conversational spirit established between her fiction and the public commited to it.
Weldon´s readers of course see beyond the restricted criteria entertained by some. Although the narrator in Mantrapped relishes the idea of being writing a reality novel, that is a novel in imitation of a reality show, the quality of Mantrapped far supasses that which is to be expected from a reality show. Mantrapped has nothing to do with trash literature. Likewise, Lives and Loves of a She-Devil entails a parodic exercise in which popular gothics are trascended.
On occasions we are under the impression that the relationship between her narrative and life is a two-way street. She has been accused of rendering a depiction of reality in her fiction too much resembling actual life. Somewhat similarly, the effects of her novels on the lives of her readers sometimes blurs the distinctions between her literature and life. Personally, I think that is what all good literature is supposed to do, make the limits between art and life seem a bit confusing.
CONCLUSION
