From a childhood of gothic proportions in a vicarage on the Welsh borders, through adolescence, leaving herself teetering on the brink of the 1960's, Lorna Sage vividly and wittily brings to life a vanished time and place and illuminates the lives of three generations of women. Lorna Sage's memoir of childhood and adolescence is a brilliantly written bravura piece of work, which vividly and wickedly brings to life her eccentric family and somewhat bizarre upbringing in the small town of Hanmer, on the border between Wales and Shropshire. The period as well as the place is evoked with crystal clarity: from the 1940s, dominated for Lorna by her dissolute but charismatic vicar grandfather, through the 1950s, where the invention of fish fingers revolutionised the lives of housewives like Lorna's mother, to the brink of the 1960s, where the community was shocked by Lorna's pregnancy at 16, an event which her grandmother blamed on 'the fiendish invention of sex'. Bad Blood is often extremely funny, and is at the same time a deeply intelligent insight by a unique literary stylist into the effect on three generations of women of their environment and their relationships.

The eldest child of Valma and Eric Stockton, she was named after Lorna Doone [1]. Sage was born at Hanmer, Flintshire, Wales, and educated at the village school, then at the Girls' High School in Whitchurch, Shropshire. Her childhood in the late 1940s and early 1950s is recalled in her last book Bad Blood. Sage became pregnant when she was 16 but was able to continue her education and won a scholarship to read English at Durham University, only after the university changed its admission rules to allow married couples to study there. Sage went on to receive an MA from Birmingham University for a thesis on seventeenth century poetry.

All of her academic career was spent at the University of East Anglia, where she was Professor of English Literature from 1994. She edited The Cambridge Guide to Women's Writing in English (1999) which has become a standard work. In the Preface she wrote: "In concentrating on women's writing...you stress the extent and pace of change, for the scale of women's access to literary life has reflected and accelerated democratic, diasporic pressures in the modern world".