Every Day is Mother’s Day
MANTEL, Hilary
Every Day is Mother’s Day
London: Chatto & Windus, 1985
8vo., yellow publisher’s boards, backstrip lettered in gilt; in the original unclipped publisher’s dustwrapper (£8.95 net), featuring a design by Suzanne Perkins and with a black and white photograph of the author by Jim Keenan to the rear flap; pp. [vi], 7-212, [iv]; a very good copy, faintly bruised to spine ends; text block evenly toned, as is common; together in the very good wrapper, with only mild sunning at the spine, light creasing to folds, and the odd small spot.
First edition of the author’s first, semi-autobiographical novel.
In 1973, Hilary Mantel had just graduated from the University of Sheffield, and after completing her studies she started a job in the social work department of a geriatric hospital. Although her first work was written in 1974, concerning the French Revolution, she was unable to find a publisher “because of the expectations surrounding the words ‘French Revolution’ ― that it was bound to be about ladies with high hair". Instead, it was her experiences involving visits to patients in the community which first inspired her debut Every Day is Mother’s Day, in particular involving the idea of lost case notes. Her earlier work was later published in 1992 as A Place of Greater Safety,
Set in the mid-1970s, the plot of the present work follows a mother (Evelyn Axon, a widowed spiritualist), and her daughter Muriel, who is disabled. When Evelyn discovers that her daughter is pregnant, their lives inextricably intertwine with those a social worker, Isabel Field, in a complex web of relationships and dark humour. The book was followed in 1986 by Vacant Possession, which continues the story some ten years later.
Following this publication, Mantel went on to write a further twelve novels, two collections of short stories, a personal memoir, and numerous articles and opinion pieces. She was the first female writer to win the Booker Prize twice, both for works of historical fiction, and for many years she was a lead book reviewer for the Guardian, as well as film critic for the Spectator.
A lovely copy.
MANTEL, Hilary
Every Day is Mother’s Day
London: Chatto & Windus, 1985
8vo., yellow publisher’s boards, backstrip lettered in gilt; in the original unclipped publisher’s dustwrapper (£8.95 net), featuring a design by Suzanne Perkins and with a black and white photograph of the author by Jim Keenan to the rear flap; pp. [vi], 7-212, [iv]; a very good copy, faintly bruised to spine ends; text block evenly toned, as is common; together in the very good wrapper, with only mild sunning at the spine, light creasing to folds, and the odd small spot.
First edition of the author’s first, semi-autobiographical novel.
In 1973, Hilary Mantel had just graduated from the University of Sheffield, and after completing her studies she started a job in the social work department of a geriatric hospital. Although her first work was written in 1974, concerning the French Revolution, she was unable to find a publisher “because of the expectations surrounding the words ‘French Revolution’ ― that it was bound to be about ladies with high hair". Instead, it was her experiences involving visits to patients in the community which first inspired her debut Every Day is Mother’s Day, in particular involving the idea of lost case notes. Her earlier work was later published in 1992 as A Place of Greater Safety,
Set in the mid-1970s, the plot of the present work follows a mother (Evelyn Axon, a widowed spiritualist), and her daughter Muriel, who is disabled. When Evelyn discovers that her daughter is pregnant, their lives inextricably intertwine with those a social worker, Isabel Field, in a complex web of relationships and dark humour. The book was followed in 1986 by Vacant Possession, which continues the story some ten years later.
Following this publication, Mantel went on to write a further twelve novels, two collections of short stories, a personal memoir, and numerous articles and opinion pieces. She was the first female writer to win the Booker Prize twice, both for works of historical fiction, and for many years she was a lead book reviewer for the Guardian, as well as film critic for the Spectator.
A lovely copy.
MANTEL, Hilary
Every Day is Mother’s Day
London: Chatto & Windus, 1985
8vo., yellow publisher’s boards, backstrip lettered in gilt; in the original unclipped publisher’s dustwrapper (£8.95 net), featuring a design by Suzanne Perkins and with a black and white photograph of the author by Jim Keenan to the rear flap; pp. [vi], 7-212, [iv]; a very good copy, faintly bruised to spine ends; text block evenly toned, as is common; together in the very good wrapper, with only mild sunning at the spine, light creasing to folds, and the odd small spot.
First edition of the author’s first, semi-autobiographical novel.
In 1973, Hilary Mantel had just graduated from the University of Sheffield, and after completing her studies she started a job in the social work department of a geriatric hospital. Although her first work was written in 1974, concerning the French Revolution, she was unable to find a publisher “because of the expectations surrounding the words ‘French Revolution’ ― that it was bound to be about ladies with high hair". Instead, it was her experiences involving visits to patients in the community which first inspired her debut Every Day is Mother’s Day, in particular involving the idea of lost case notes. Her earlier work was later published in 1992 as A Place of Greater Safety,
Set in the mid-1970s, the plot of the present work follows a mother (Evelyn Axon, a widowed spiritualist), and her daughter Muriel, who is disabled. When Evelyn discovers that her daughter is pregnant, their lives inextricably intertwine with those a social worker, Isabel Field, in a complex web of relationships and dark humour. The book was followed in 1986 by Vacant Possession, which continues the story some ten years later.
Following this publication, Mantel went on to write a further twelve novels, two collections of short stories, a personal memoir, and numerous articles and opinion pieces. She was the first female writer to win the Booker Prize twice, both for works of historical fiction, and for many years she was a lead book reviewer for the Guardian, as well as film critic for the Spectator.
A lovely copy.