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The Betrayal
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The Betrayal
Unavailable
The Betrayal
Ebook450 pages7 hours

The Betrayal

Rating: 4.5 out of 5 stars

4.5/5

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About this ebook

A “magnificent, brave, tender” novel of post-WWII Russia from the author of The Siegeshortlisted for the Orwell Prize and Commonwealth Writers’ Prize (The Independent on Sunday).
 
Leningrad 1952. Andrei, a young doctor, and Anna, a nursery school teacher, have forged a life together in the postwar, post-siege wreckage. But they know their happiness is precarious, like that of millions of Russians who must avoid the claws of Stalin’s merciless Ministry of State Security.
 
When Andrei is forced to treat the sick child of a senior secret police officer, his every move is scrutinized, making it painfully clear that his own fate—and that of his family—is bound to the child’s. Trapped in an impossible game of life and death, Andrei and Anna must avoid the whispers and watchful eyes of those who will say and do anything to save themselves . . .
 
With The Betrayal, internationally acclaimed author Helen Dunmore vividly depicts the difficulty of living by principle in a tyrannical society, in which paranoia infects every act, and even ordinary citizens become instruments of terror” (The New Yorker).
 
“An emotionally charged thriller, The Betrayal unfolds breathlessly and with great skill. . . . You don’t want to put it down. . . . Elegant yet devastating.” —The Seattle Times
 
“With precise period detail and astute psychological insight, Dunmore brings the last months of Stalin’s reign to life and reminds us why some eras shouldn’t be forgotten.” —Publishers Weekly
LanguageEnglish
Release dateSep 6, 2011
ISBN9780802195012
Unavailable
The Betrayal
Author

Helen Dunmore

HELEN DUNMORE is a novelist, short story writer and poet. She has written twenty-two children’s books, including Brother Brother, Sister Sister; The Lilac Tree; The Seal Cove; and the bestselling Ingo series. She has written nine adult books including A Spell of Winter, which won the 1996 Orange Prize for Fiction. Her poetry collections have won the Poetry Society’s Alice Hunt Bartlett Prize and the Signal Poetry Award. Helen Dunmore was born in Yorkshire, England, and now lives in Bristol with her husband and children.

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Rating: 4.5 out of 5 stars
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  • Rating: 5 out of 5 stars
    5/5
    One of a few plays I am happy to reread/rewatch. Harold Pinter's inspiration for this was his long-term affair with Joan Bakewell, and he has said how he felt betrayed when he learnt that Joan's husband had known about the affair for a long time and not confronted him. And a wonderful exposure of human nature in the first scene when Jerry says, having heard talk that his ex-lover is seeing another man that he felt irritation that no one gossiped about us like that. Funny and painful, sparse mundane dialogue and plenty of pauses that speak a thousand thoughts. And an arresting back-to-front structure, so the audience know more than the characters as the play progresses. Wonderfully thought-provoking about relationships and what we remember about ourselves.
  • Rating: 5 out of 5 stars
    5/5
    I studied Pinter years ago at school and fell in love with his plays. I was prompted to re-read Betrayal because of an imminent trip to see a theatre production and I had forgotten just how good a play this is. The dialogue is sparse and deceptively simple, but is sharp and cuts like a knife to the core of the play, 'I don't need to think about you.' The simple device of telling the story of an affair backwards enables Pinter to expose the complexities of the affair, enabling this play to transcend the mundane, and, as Samuel Beckett commented to Pinter, 'wrings the heart'.
  • Rating: 4 out of 5 stars
    4/5
    An interesting twist on a familiar tale of infidelity - Pinter tells the story backwards. He begins at the end, and ends at the beginning, so you already sort of know how it's going to "end", but you stick around because he has hooked you by the peculiar twist. Without that gimmick, it might be just another familiar story with nothing to keep you in your seat. The dialogue is stark and nearly barren, but that can be misleading. It isn't so much the words the characters say as the interplay between the characters, what the words mean rather than strictly what they say.