Sarah Moss (born 1975)[1] is an English writer and academic. She has published six novels, as well as a number of non-fiction works and academic texts. Her work has been nominated three times for the Wellcome Book Prize.[2] She was appointed Assistant Professor of Creative Writing at University College Dublin's School of English, Drama and Film in the Republic of Ireland with effect from September 2020.[3]
Biography
Sarah Moss was born in Glasgow, Scotland, and at the age of two moved with her family to Manchester,[1] where she lived until at the age of 18, when she went to study at the University of Oxford.[4][2] During the ten years she spent in Oxford, she earned a BA, Master of Studies and D.Phil in English Literature, and then held a postdoctoral research fellowship.[4] From 2004 to 2009 she was a lecturer at the University of Kent.[4] Following the publication in 2009 of her first novel, Cold Earth, Moss went to teach for a year at the University of Iceland.[1] She then took up a post as Senior Lecturer in Literature and Place at University of Exeter's Penryn Campus in Cornwall, and subsequently moved to the University of Warwick, becoming Director of the Warwick Writing Programme, teaching creative writing.[4][5][6]
Ghost Wall
Moss creates a motif of light at the outset of her Ondaatje Prize-nominated text, Ghost Wall, as a female character is brought out, ‘not blindfolded’, but with her ‘eyes widened’ to ‘the last light’ of the day and also quite possibly of her life. This foreshadowing narrative at the outset is an historic representation of a social evil that occurred in medieval England many centuries ago amongst those communities that practiced human sacrifice.[citation needed]
As the novel continues, we meet the Hampton family, who are involved in a re-enactment of life in northern England 2500 years ago, whilst the insidious influence of the racist and sexist Englishman Bill Hampton upon his wife Alison and his smart, seventeen-year-old Silvie, is slowly revealed.
This text is intended to 'shake up' the reader with its presentation of the nefarious role that personal power politics plays in domestic abuse, a highly pertinent theme for today.[1]
^Grogan, Claire (2012). "Spilling the Beans: Eating, Cooking, Reading and Writing in British Women's Fiction, 1770–1830". European Journal of English Studies. 16 (1): 83–84. doi:10.1080/13825577.2012.655162.