Fowles, John: The French Lieutenant's Woman
(researched by Amanda Johnson)

Assignment 1: Bibliographical Description

1 First edition publication information (publisher, place, date, etc.)

Little Brown and Company, Boston/Toronto, 1969. The novel was published simultaneously in Boston and Toronto.

2 First edition published in cloth, paper, or both? If both, simultaneous or staggered?

The first edition was puished in light grey cloth with silver lettering.

3 JPEG image of cover art from first edition, if available

4 Pagination

238 leaves, pp. [8] 3-467

5 Edited or Introduced? If so, by whom?

The book was neither edited nor introduced.

6 Illustrated? If so, by whom?

The book was not illustrated.

7 JPEG image of sample illustration, if available

8 General physical appearance of book (Is the physical presentation of the text attractive? Is the typography readable? Is the book well printed?)

The text is rather small but still easy to read. The page is visually appealing as the text is placed a significant distance from the edges of the page (approximately 1 inch). The page numbers are inside [] at the bottom of each page.

9 JPEG image of sample chapter page, if available

10 Paper (Assess the original quality of the paper used for the book. Is the paper in the copy or copies you examined holding up physically over time?)

The paper is heavy and of good quality. Though slightly yellowed it has held up very well over time.

11 Description of binding(s)

The book is sewn with yellow and blue thread.

12 Transcription of title page

JOHN FOWLES|THE FRENCH| LIEUTENANT'S| WOMAN| (the letters L and B surrounding a lamp post as a symbol for the publishing company) |LITTLE, BROWN AND COMPANY . BOSTON . LONDON|

13 JPEG image of title page, if available

14 Manuscript Holdings

The manuscript for The French Lieutenant's Woman may be found at the library at the University of Texas at Austin. There are also several boxes of Fowles's papers and a few other manuscripts housed there.

15 Other (typograpical information from title page, etc.)

The edition that was examined was printed in Boston. However, the novel was published simultaneously in Canada by Little, Brown & Company (Canada) Limited.

Assignment 2: Publication and Performance History

1 Did the original publisher issue the book in more than one edition? If so, briefly describe distinguishing features of each (illustrations, cover art, typography, etc.); if not, enter N/A

The French Lieutenant's Woman was printed in a Book Club edition by Little Brown & Company in Boston, a Limited edition by Franklin Library in 1979, and a film edition which was a specially signed editionI that was bound to comemorate the making of the film in Lyme Regis, June 1980. It was limited to 25 copies for sale. There was also a braile edition and numerous translations.

2 JPEG image of cover art from one subsequent edition, if available

3 JPEG image of sample illustration from one subsequent edition, if available

4 How many printings or impressions of the first edition?

The publisher refused to provide me with this information. After contacting over 35 booksellers who have a first edition copy of this novel the latest printing that I have found is the 11th printing.

5 Editions from other publishers? If so, list their dates and publishers; if not, enter N/A

Associated Reprinting Co.--1969 Cape--June, 1969 International Collectors Library--1969 Jonathan Cape--1969 New American Library of Canada--1969 Penguin--1969 Triad Granada--1969 Trinity Press--1969 New American Library--1970 Penguin--December 1970 London World Books--1971 Panther--1971 Triad Granada--1977 Franklin Library (Privately Printed)--1979 NAL/Dutton--Oct. 1981 New York American Library--1981 Penguin--Oct. 1981 Pan Books in association with Jonathan Cape--1987 New American Library--1989 Soho Press, Inc.--1990 William A. Thomas Braille Bookstore--1990 Hodder & Stoughton Educational--1991 Picador--1992 Bucaneer Books, Inc.--1994 Vintage--1996 Back Bay Books--1998

6 Last date in print?

The last printing was in 1998 by Back Bay Books. This printing is not yet available to the public.

7 Total copies sold? (source and date of information?)

I have contacted the publisher both by phone and letter to try to ascertain this information. To date they have refused to provid e me with the total number of copies sold.

8 Sales figures by year? (source and date of information?)

I have contacted the publisher both by phone and letter to try to ascertain this information. To date they have refused to provide me with the sales breakdown by year.

9 Advertising copy (transcribe significant excerpts, briefly identify where ads were placed)

"Richer and more accomplished than The Collector of The Magus" --Time Magazine (New York Times, Nov. 20, 1969) Fowles' "immensely interesting, attractive and human" third novel is "both richly English and convincingly existential." (New York Times Book Review)

10 JPEG image of sample advertisement, if available

11 Other promotion

The French Lieutenant's Woman was printed in a Book Club edition by Little Brown & Company in Boston, a Limited edition by Franklin Library in 1979, and a film edition which was a specially signed edition that was bound to comemorate the making of the film in Lyme Regis, June 1980. It was limited to 25 copies for sale. There was a listing in Publisher's Weekly (July-Sept, 1969) for selected books from Little Brown Publishing. The ads for this novel are rather sparse. Those that do exist are very minimalistic in nature. Basically the ad just had all the books that had recently been published by Little Brown and Company in a long list along with the dates they were coming out.

12 Performances in other media? If so, list media, date, title, production information; if not, enter N/A

"The French Lieutenant's Woman" a film based on Fowles novel starring Meryl Streep and Jeremy Irons, was produced by United Artists in 1981, produced by Leon Clore; directed by Karel Reisz. The screenplay was written by the distinguished British playwright Harold Pintor, with the introduction written by Fowles himself. The manuscript can be found at the University of Texas at Austin Library. Jeremy Irons reads The French Lieutenant's Woman Burligame, CA: Audio Partners, 1988 2 sound cassettes (3 hr.) An unabridged recording of the book. The French Lieutenant's Woman Sterling Audio Book Read by Paul Shelley (1993) 12 sound cassettes (17 hrs., 3 min.) Bath, England The French Lieutenant's Woman Original Soundtrack recording (French Lieutenant's Woman--Motion Picture) DRG, New York, NY 1981 Music from the motion picture soundtrack composed and conducted by Carl Davis. The London Philharmonic and Cinema Sound Stage Orchestra. Stage & Screen Productions/Damont, 1983. Recording, 1 cassette Ravel's Bolero.--Love story.--The French Lieutenants Woman.--Cavatina from The deer hunter.--Love is a many splendored thing.--A man and a woman.--On golden pond.--Windmills of your mind from The Thomas Crown affair.--Romeo & Juliet. Love themes from the movies.

13 Translations? If translated, give standard bibliographic information for each translation. If none, enter N/A

Taiwanese: The French Lieutenant's Woman. T'ai-pei shih: Chin shan t'u shu ch'u pan yu hsien kung ssu, c 1969. A Taiwanese piracy of the first ed. (Boston: Little Brown, 1969) Imprint romanized (from verso of t.p) Danish: Den fanske lojtnants kvinde/John Fowles; pa dansk ved Henning Ispen. Dresden: Con amore, 1988. Translation of: The French Lieutenant's Woman. "Noter": p.416-(424) Finnish: Ranskalaisen luutnantin nainen/John Fowles; soumentanut Kaarina Jaatinen; runot suomentanut Hanna Sarrala. Hameenlinna: Karisto oy, 1987 Translation of: The French Lieutenant's Woman HRC copy; t.p. inscribed by author; with dust jacket. Hungarian: A francia hadnagy szertoje: regency/John Fowles. Budapest: Arkadia, 1983. Translation of: The French Lieutenant's Woman "Forditotta Gy. Horvath Laszlo, a versbeteket Kiss Zsuzsa forditotta"--P (2). Italian: La donna del tenente fancese/John Fowles. Novara: Mondadori: De Agostini, c1987. Translation of: The French Lieutenant's Woman "Traduzione di Ettore Capriolo"--T.p. verso Norwegian: Den franske loytants kvinne/John Fowles; oversatt av Axel Amlie. Oslo: Aschehoug, 1987. Translation of: The French Lieutenant's Woman "Printed in Finland, Werner Soderstrom Oskayhtio"--T.p. verso Portugese: A mulher do tenente frances/John Fowles; traducpao de Regina Regis Junqueira. Rio de Janeiro: Editora record, c1969. Translation of: The French Lieutenant's Woman Chinese: Fa-kuo chung wei ti nu jen, T'ai-pei shih: Tzu hua shu tien, 1990. Translation of The French Lieutenant's Woman German: Dies herz fur liebe nicht gezahmt, Frankfurt: Ullstein, 1970. Translation of The French Lieutenant's Woman Russian: Liubvonit sa frantsuzskogo leitenanta, Sankt-Peterburg: "Severo Zapad", 1993 Translation of The French Lieutenant's Woman Polish: Kochanica fancuza, Waszawa: Panstwowy Instytut Wydawnicy, 1978 Translation of The French Lieutenant's Woman Spanish: La mujer del teniente frances. Barcelona: Argos Vegara, 1969 1982. Translation of The French Lieutenant's Woman

14 Serialization? If serialized, give standard bibliographic information for serial publication. If none, enter N/A

This book was not serialized.

15 Sequels/Prequels? Give standard bibliographic information for each. If none, enter N/A

There were no sequels or prequels.

Assignment 3: Biographical Sketch of the Author

1 Paste your biographical sketch here (maximum 500 words)

Fowles's fantasy is "to write one book in every imaginable genre." Even though he didn't begin writing until he was in his twenties and was not published until he was almost forty, it is conceivable that he might achieve this dream. John Fowles is the author of five volumes of fiction that have ranked high on bestseller lists in the U.S. and abroad. Fowles's first three novels sold more than four million copies in paperback reprints alone. The Collector, The Magus, and The French Lieutenant's Woman were all made into motion pictures. Fowles also wrote works of poetry and philosophy although they weren't well known or read. Fowles is one of the few authors who commands the attention of both a mass audience and the literary scholar and critic. John Fowles was born on March 31, 1926 in Leigh on Sea, Essex; son of Tobert and Gladys Fowles. Fowles describes his hometown as dominated by conformist--the pursuit of respectability." Fowles, an individualist, learned to cope with these pressures by "pretend (ing) to be what I am not." This attitude helped him become a student leader at a suburban London preparatory school, Bedford school. After preparatory school, Fowles served two years as a lieutenant in the Royal Marines, attending the University of Edinburgh for six months as part of his training. WWII ended without Fowles serving any combat duty. Instead, he entered New College, Oxford to read French and German languages and literature. After graduating, Fowles taught English at the University of Poitiers in France and then at Agyrios College, on the Greek Island of Spetsai. It was there that Fowles met his wife Elizabeth Whitton and became the stepfather of her three-year-old daughter. Fowles has no routine. Often he will go for long periods of time without writing anything. However, when the inspiration comes to him, he will often work as many as sixteen hours a day and write with unbelievable speed. In fact, the first drafts of The Collector and The Ebony Tower were written in less than a month for "You have to do it in a gush, conceive in passion. You bring up the child later, by reason and logic." The Collector was Fowles' first published work (1963) yet doesn't exhibit any signs of his novice. It wasn't until Fowles' sold the film rights for The Collector in 1963 that he could afford to become a writer full time. This relieved him of the burden of having to teach for a living, and allowed him to live the solitary routineless life he prefers. Since 1966 the Fowles' have lived in the small coastal town of Lyme Regis, in southern England. Fowles describes it "as a kind of exile" for he is hours away from the nearest city putting himself in "exile from literary England." Fowles's works include The Collector, The Aristos: A Self-Portrait in Ideas, The Magus, The French Lieutenant's Woman, Poems, The Ebony Tower, Shipwreck, Daniel Martin, Islands, The Tree, The Enigma of Stonehenge, Mantissa, Maggot. The majority of his works were published by Little Brown & Company, Inc. Fowles was the recipient of the Silver Pen Award from English Center of International PEN, and the W.H. Smith Literary Award for The French Lieutenant's Woman as well as the Christopher Award for The Tree.

Assignment 4: Reception History

1 Paste contemporary reception history in here (maximum 500 words)

John Fowles' novel The French Lieutenant's Woman rose to the top of the bestseller list despite slightly mixed reviews from critics. Fowles' attempt to write mid-Victorian fiction through the advantage of a twentieth century perspective serves to both baffle and intrigue critics alike. As noted in The Hudson Review, "This is a huge book because it tries to be both a Victorian novel and a commentary on Victorian life. At times it seems that the commentary is not bad and the novel awful, but at others Fowles makes the novel almost work and the comments are embarrassingly vulgar." This rather harsh view was not shared by all critics however. Jane Hodge of Books and Bookmen described Fowles attempt saying, "... the whole thing works, and the result is a book that combines the immediacy of a modern novel with the breadth and moral vision of an older one." The reaction of most critics was somewhere in between as expressed in the Saturday Review describing The French Lieutenant's Woman as, "a Victorian Novel no Victorian would have written, which is surprisingly accurate for the author, with his leisurely digression and wonderful asides to the gentle reader does remarkably evoke the past century smoldering in its own hypocrisy. But beneath it all--or perhaps above it all--pulses an intensely romantic story, and that we all know, is what made the novel such a rousing best seller." How this rousing best seller ends depends solely on which of the endings the reader chooses. This concept is rather refreshing to critics. The Commonweal describes Fowles' work as "A juicy striptease by Master Fowles that gives the reader the chance to write his own ending." Others believe that Fowles does "some fooling around with alternative endings." Perhaps Fowles does this to excite readers for his "triple-ending device encourages rather than dampens our delight in living other people's lives." The Listener describes John Fowles as a "seductive story-teller who wants to be a major novelist." Fowles does not seem to understand that it is impossible to be both as in "wishing to improve himself, he does not sharpen his cliche-prone and colorless prose style, nor attend with increased subtlety to his often shallow characterisation. His unfortunate ambition is to persuade us that, in addition to a knack, he has a mind." "John Fowles manages through the use of an archaic form to laugh slyly at himself and his art while exercising his talent most skillfully," says America. Regardless of the mixed reviews, at some level The French Lieutenant's Woman appeals to both critics and readers alike. Most agree with The Antioch Review that "this is one novel to read all over again, it promises unlimited pleasure." James Price agrees in The New Statesman, "This is a splendid, lucid, profoundly mystifying work of art, a book which I want almost immediately to read again." (Because of space constraints for a complete listing of reviews for this book look in Supplementary Materials below.)

2 Paste subsequent reception history in here (maximum 500 words)

Within three years of publication the number of reviews written about The French Lieutenant's Woman decreased dramatically. Of those that are in existence most are scholarly in nature and rather difficult for the average reader to fully comprehend. Jane Lasarenko in The Midwest Quarterly describes most of the literary review found in the 90's by saying, "Virtually every critic, regardless of the sophistication of the approach reduces the book to a Fowlesian philosophical and/or aesthetic tract that illustrates the superiority of twentieth-century existential and aesthetic values, primarily by arguing that the second of two endings is more preferable.It makes sense to argue over which ending of the book is better only if we genuinely care about the fates the characters achieve and if we assume that characters, like people, can't have two different fates simultaneously. Later Lasarenko adds, "Fowles is able to create an ending that not only reflects different fates for those characters, but more important, grants us the illusion that as readers we actually have a choice concerning those fates." Regardless of the decade of the review, critics seem to find this ability to chose one's one ending quite satisfying. Lasarenko continues by highlighting some of the books finer qualities saying, "we have seen that Fowles invites a strong emotional engagement with the characters and their fates through his narrative manner." Katherine Tarbox agrees with this meritorious description citing The French Lieutenant's Woman as "Fowles's most enigmatic novel and that its power to disturb arises from its experiments with narrative limits." This "experimental novel" as described by Doreen Roberts in The Spectator is "equipped with quality post-modernist accessories; an air of -- somewhat elephantine -- playfulness, a running commentary on its own tricksy narrative strategies deliberately anachronistic references and asides, a couple of appearances by the narrator in his own story, and, of course, the famous alternative endings." For Roberts this is one experiment that fails as "It would be more excusable if Fowles had anything new to tell us about the Victorians; but he hasn't. The presentation is shallow, one-sided, platitudinous and vulgarly iconoclastic." This reviewer is in the minority as the majority of critics still find this novel a unique kind of text for it can be both extremel y pleasurable and terribly enigmatic. In this way according to Arabella Clauson, "Fowles never ceases to observe, and force the reader to accompany him in his visions, the very fictionality of his own fiction." Reviews can be found in the following places using ProQuest: Lasarenko, Jane. From Invitation to Experience: A narrative of (Dis) Engagement. Midwest Quarterly, 1993. Roberts, Doreen. The French Lieutenant's Woman. The Spectator. January 15, 1994. Tarbox, Katherine. The French Lieutenant's Woman and the Evolution of Narrative. Twentieth Century Literature, 1992. A review can be found online at the following location: Clauson, Arabella. From Book to Film: Postmodernism in The French Lieutenant's Woman. 1997.

Assignment 5: Critical Analysis

1 Paste your critical analysis in here (maximum 2500 words)

While John Fowles' two previous novels were popular successes, it was only with the publication of The French Lieutenant's Woman that Fowles' became a bestseller on both sides of the Atlantic. As a result of this critically acclaimed novel, Fowles reputation was extended to include the atmosphere of academia. In this novel, Fowles recreates not only the Victorian world, but also the Victorian novel making this work both a historical novel and an experimental one. This tension between fiction and reality and between the historical past and present are continually manipulated by Fowles throughout this novel. This novel ranges from typical domestic life in Dorset, to the rougher sections of London, from the reactions of the masses and the popular taste of the day, to its central moral and philosophical questions. Many of the social concerns of Victorian England, especially the great changes in social classes, caused the emergence of a wealthy and powerful commercial class, the demise of the aristocracy, and the beginnings of female emancipation are explored in this historical yet socially conscious novel. As this novel progresses, Fowles makes reference to Freud, Hitler, Henry Moore, and Marshal McLuhan, to film, television, radar, and the jet engine. Through this journey, the reader is continually invited to enter the Victorian world while at the same time held at a distance as a mere observer of this historical period. Perhaps instead this novel should be read as an amalgam of both the nineteenth and twentieth centuries. The year 1867, in which this novel was set and exactly a century before Fowles began writing the novel, was the year that Nobel invented dynamite, the first volume of Marx's Das Kapital appeared, the year in which the Paris World Fair introduced Japanese art to Europe, the British Parliament passed the second great Reform Bill, the British North America Act established the Dominion of Canada, and the United States purchased Alaska (Olshen, 66). This year's events were representative of the dynamic changes that occurred during the entire period. These changes are exemplified by the heroine of Fowles' novel. Sarah Woodward, the heroine, by the books end will come to embody the feminine qualities generally repressed in the Victorian age. She is the epitome of passion, imagination, and independence. While the reader is not made aware of this until the novel's conclusion, Sarah is an early prototype of the liberated woman. At the same time, she exudes a rather mysterious quality and continuously appears to be both isolated and allusive. Sarah admits to herself as well as Charles, "You do not understand. It is not your fault. You are very kind. But I am not meant to be understood" (354). Charles on the other hand, is a definite follower of Charles Darwin as he is very interested and devoted to geology and paleontology. Rather appropriately, Darwin's Origin of Species appeared in 1859 as the intellectual revolution began and as presented by Darwin, was about to change the very structure of the Victorian society (Olshen, 71). This historical reality is clearly reflected in Charles' evolution as the novel progresses. He is essentially a man trying to overcome history. While the tensions and contradictions within his character are largely due to the Victorian Age, the choices he makes continuously serve to bring him closer to the modern age. Fowles rather curious inclusion of the epigraphs at the beginning of each chapter serves to not only try to summarize each chapter or highlight the significance of the chapter before the reader delves into the story, but also to maintain the Victorian aspects of the novel. Many of the quotes were in fact taken from Victorian writers. For example, chapter one begins with a quote from Thomas Hardy's, The Riddle. The quote obviously describes the mysterious lady standing at the end of the Cobb, Sarah Woodruff, but the fact that such a quote comes from a work entitled The Riddle also adds some insight to the intrigue, secrets, and shadows behind Sarah. She truly is a "riddle" and something that both the reader and Charles attempt to figure out. In addition to these epigraphs that begin each chapter, Fowles occasionally breaks his narrative with reference to the subtexts at the bottom of the page which act as the author's asides to clarify a certain point. Fowles keeps using post-modernistic "tricks" like the subtexts to avert the reader's attention away from the Victorian Era into the modern world and then suddenly back into the 1860s. Fowles is purposely teasing readers' minds and playing with their heads, but he does not necessarily try to confuse them because the epigraphs and subtexts are there to guide them along. When Fowles first published The French Lieutenant's Woman, critics invested a good deal of time and energy trying to determine what type of novel Fowles had created. In a move that often perplexes modern critics, Fowles eventually enters his story in the form of two different disguises. At one point, he is a bearded evangelical type who appears as an unwelcome intruder into Charles's first class train compartment. In the final chapter however, he appears as an extremely important looking impresario who regards the world as his theater to be used in whatever manner he sees fit. Fowles' journey into the narrative was not the only experimental device he manipulated in this narrative. While the notion of multiple endings is not unheard of in Victorian novels, coupled with the ambiguous narrative voice employed throughout the narrative, it serves to identify Fowles as an inventive contemporary novelist who can write an experimental novel and still remain identifiable. The voice of The French Lieutenant's Woman is much like that of a novel by Dickens, George Eliot, or Trolope. He not only tells the story, but he breaks into it at will so that he might criticize or interpret it. There are also hints of a Jane Austen quality in this novel as Fowles was a fan of the authoress. It has in fact been argued that this novel has not 2 but 3 different endings. Actually, about one hundred pages from the end of this novel, the reader is informed that Charles and Ernestina have married and had seven children. Charles has also agreed to enter Mr. Freeman's business while Sarah's fate remains unknown. This is obviously a humorous fabrication by Fowles as it is too extreme to take seriously. Critics argue however, that this ending is a betrayal of all that the novel has been moving towards as it has little reality and is offered a purely conventional, literary ending. Why Fowles chose to include this chapter is a bit of an enigma for the next chapter explains that the preceding ending was not what really happened. From then on it is a page turning thriller to find out how this rather unique novel is going to end. The last two endings, while equally as perplexing seem to be joined giving the reader a chance to end the novel however he pleases. Both endings revolve around the fact that Charles finally finds Sarah again as an artist's assistant and occasional model. After Charles speaks to Sarah he flees the room and as he descends the stairs, he sees a woman holding a child in her arms. The child's identity remains unknown but as Charles leaves the house, he is in a sense reborn. He has finally found a uniqueness about himself on which to rebuild his life without Sarah. The other of these final endings is a traditionally romantic one based on wish-fulfillment. He discovers that this baby is his. The inclusion of such an ending appears as Fowles' attempt to please his readers, to give the readers a choice. The ending in which Charles does not know the baby is his is much more Fowlesian and seems to be more in tune with how the choices the characters would have made. Why then Fowles chose to include the other endings continues to perplex critics and readers alike. The question of why The French Lieutenant's Woman was indeed in success relies largely on the novel's Victorian medium and manner. As Phyllis R. Katz pointed out in a review in "Best Sellers" "He [Fowles] makes it possible for us to see how our age has grown from that one" --the Victorian. This indeed is a Victorian novel that no other Victorian could have written. The success of The French Lieutenant's Woman wasn't confined to it's popularity in the bookstores. Some 12 years after it was published, a major motion picture was made staring Meryl Streep and Jeremy Irons. This critically acclaimed movie did help Meryl Streep win a Golden Globe for her portrayal of Sarah Woodward. The film as well as the actress was also nominated for an Oscar but did not win. This movie did not seem to significantly effect the books sales however. There was no resurgence of The French Lieutenant's Woman at the top of the bestseller list. In an interview Fowles admitted that he was happy with the film. He could find fault in one or two minor things but overall he found it to be a very interesting experiment. Fowles, mentioned that the film had been much better discussed in France than anywhere else. There "some very good stuff has been written on it" (Tarbox, 190) Fowles was very pleased for that. One of the reasons that The French Lieutenant's Woman may not have retained it's popularity is that Fowles never really promoted it. In fact, in an attempt to get away from literary England he is now in exile in Lyme. He had never really done any book tours and rarely consents to an interview. Also, this novel was not intended to be read by the average person. Fowles describes the readers of his works as "people who like narrative, they're at the university level in education, and they enjoy the kind of games I like to play with readers." Regardless, Fowles' rather enigmatic novel, The French Lieutenant's Woman will continue to both thrill and perplex critics and readers alike for many years to come. Sources: Huffaker, Robert. John Fowles. Boston: Twayne Publishers, 1980. Olshen, Barry. John Fowles. New York: Fredrick Ungar Publicizing Co., 1978. Tarbox, Katherine. The Art of John Fowles. Athens: The University of Georgia Press, 1988. Wolfe, Peter. Magus and Moralist. London: Bucknell University Press, 1979. Web Sources for The French Lieutenant's Woman--The Movie Review and Box Office Charts--

Supplemental Material

Complete listing of articles written about The French Lieutenant's Woman Withing 5 years of publication. Contemporary Section: Those with a * beside them were quoted directly in the Contemporary Section of The Reception History. American Libraries. v1. Mr -'70. p. 276. Z673.A5B2. 1970. *America. v122. My2-'70. p. 478. BX801.A5. 1970. *Antioch Review. v29. Winter-'70. p. 587. AP2.A562. 1969/70. *Books and Bookmen. v14. S ?69. p.49. Z.2005.B62. 1969. Booklist. v66. D15 ?69. p. 494. Z.1035.A49. 1969. *The Commonweal. v93. D4-?70. p. 257. AP2.C6897. 1970. Encounter. v35. Ag-'70. p. 64. AS1.E5.V.35. 1970. Horn Book Review. v46. Ap-?70. p.186. Z1037.A1H6. 1970. Harper's Magazine v239. D'69. p.146. AP2.H3. 1969. *Hudson Review. v22. Winter'70. p711. AP2.H89. 1970. Life. v67. N14 ?69. p.8. AP2.L547. 1969. *Listener. v82. J13 ?69. p.24. AP4 L417. 1969. New Leader. v53. Ja5 ?70. p.19. HX1.N37. 1970. New Statesman. v77. Ja13 ?69. p.850. AP4.N64. 1969. Newsweek. v74. N10 ?69. p.118. AP2.N6772. 1969 D22 ?69. p. 97 AP2.N6772. 1969. New York Review of Books. v14. F12 ?70. p.22. Z1219.N385. 1970. New York Times Book Review. pt.1. N9 ?69. p.1. Z1219.N39. 1969. The Nation. v209. D15 ?69. p.667. AP2.N2. 1969. National Review. v21. D2 ?69. p667. AP2.N2. 1969. The New Republic. v161. N15 ?69. p. 54. AP2.N624s. 1969. Publisher's Weekly. v196. S8 ?69. p. 54. Z1219.P98. 1969. v199. Ja4 ?71. p. 58.. Z1219.P98. 1969. *Saturday Review. v52. N22 ?69. p.85. Z1219.S25. 1969. v54. M27 ?71. p.42. Z1219.S25. 1971. The Spectator. v222. Je4 ?69. p.788. Ap4.S7. 1969. Time. v94. N7 ?69. p.108. AP2.T37. 1969. Virginia Quarterly Review. v46. Spring ?70. p. 240. AP2.V76. 1970. The Yale Review. v.59. Mr. ?70. p. 430. AP2.Y2. 1970

Additional cover art used for The French Lieutenant's Woman.

A sample add from Little Brown & Company that lists The French Lieutenant's Woman.

A photo of the majority of books that Fowles has written.

A picture of John Fowles.

Meryl Streep and Jeremy Irons in the movie adaptation of The French Lieutenant's Woman.

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