From Publishers Weekly This fourth effort from British writer Winterson ( Sexing the Cherry ) is a high-concept erotic novelette， a Vox for the postmarital crowd. The narrator， a lifelong philanderer ("I used to think marriage was a plate-glass window just begging for a brick")， has fallen in love with Louise， a pre-Raphaelite beauty. Louise is unhappily married to a workaholic cancer researcher， so the narrator leads her into a sexually combative affair. This scenario seems obvious enough， but Winterson never reveals whether the narrator is male or female. Rather， she teases readers out of their expectations about women and men and romance: Louise calls the narrator "the most beautiful creature male or female that I have ever seen，" and the narrator observes， "I thought difference was rated to be the largest part of sexual attraction but there are so many things about us that are the same." When the narrator breaks off the affair after learning that Louise has cancer--only her husband can cure her--the work turns into a eulogy for lost love. Winterson manipulates gender expertly here， but her real achievement is her manipulation of genre : the capacious first-person narration， now addressed to the reader， now to the lover， enfolds aphorisms， meditations on extracts from an anatomy textbook， and essayistic riffs on science， virtual reality and the art of fiction ("I don't want to reproduce， I want to create something entirely new"). "It's as if Louise never existed，" the narrator observes， "like a character in a book. Did I invent her?" One wonders， as Winterson intends， and then wonders some more. For Louise--and the narrator's love for her--never seems quite real; in this cold-hearted novel love itself， however eloquently expressed， is finally nothing more than a product of the imagination. Copyright 1992 Reed Business Information， Inc. From Library Journal Like Andre Breton's dizzying poem， "Ma Femme a la chevelure de feu de bois" ("my woman with her belly like the unfolding fan of days/... My woman with her swan's back buttocks")， the narrator of Winterson's ( Sexing the Cherry ， LJ 2/15/90) new novel relentlessly celebrates the beauty of a beloved woman's body--but the trick here is that we do not know whether the narrator is a man or a woman. The story is minimal and not altogether original: a corrusive sensualist experiences many women but finally becomes obsessed with one， stealing her from her husband， only to discover that she has been guarding a terrible secret: she is threatened by a terminal illness. The fascination is the lush， plush language and the way two aspects of the physical--passion and bodily decay--are delicately interwoven. Not to everyone's taste， but serious readers and sensualists will enjoy. Previewed in Prepub Alert， LJ 10/1/92.- Barbara Hoffert， "Library Journal"Copyright 1993 Reed Business Information， Inc. See all Editorial Reviews

珍妮特·溫特森（Jeanette Winterson），當代最好也是最有爭議性的作傢之一。

1959年，生於英格蘭的曼徹斯特。自小由堅信宗教的夫婦收養。當時傢中有六本書，其中《亞瑟王之死》激發瞭溫特森對書本和寫作的渴望。

1978年，溫特森與一個女孩相愛，離傢齣走。她在 殯儀館、精神病院等地留宿打工，但仍以全A的成績考進牛津大學英語係。

1985年，處女作《橘子不是唯一的水果》齣版，榮獲惠特布萊德首作奬。由她親自改編的同名BBC劇集也大獲好評，獲得各項國際大奬。

代錶作品有：《激情》、《給櫻桃以性彆》、《寫在身體上》、《藝術與謊言》、《蘋果筆記本》、《守望燈塔》等。

2006年，溫特森以其傑齣的文學成就被授予英帝國勛章（OBE）。

譯者 周嘉寜 作傢。著有長篇《陶城裏的武士四四》、《夏天在倒塌》、《往南方歲月去》、《天空晴朗晴朗》，短篇小說集《杜撰記》等。《寫在身體上》是她翻譯的第一部小說。現任《鯉》書係文字總監