Kate Petty
Recently, I read Behind the Scenes at the Museum by Kate Atkinson. It was a set book for school and I
sat down reluctantly to begin reading it in the morning; five hours later I was still sitting in exactly the same place, completely engrossed in the story. The voice of the protagonist, a young
girl from York in the 1950s, stayed with me long after I had finished it: not necessarily at the forefront of my mind, but as a lingering presence that subtly changed my perspective on all manner
of things.
Although The Glass Menagerie by
Tennessee Williams is a play, it manages to have the same effect on the reader as it would if it was a novel twice the length. In fact, the form helps to create a more realistic idea of the
characters, which makes the story more vivid, playing with the reader’s emotions as the story develops.
Get Britain's best politics newsletters
Register to get The Spectator's insight and opinion straight to your inbox. You can then read two free articles each week.
Already a subscriber? Log in
Comments
Join the debate for just £1 a month
Be part of the conversation with other Spectator readers by getting your first three months for £3.
UNLOCK ACCESS Just £1 a monthAlready a subscriber? Log in