Slightly Foxed > An Index to Slightly Foxed > Breese, Sophie

Breese, Sophie

Sophie Breese is a teacher, reader, writer and traveller. Most of the time, she lives in an eighteenth-century farmhouse in the south-west of France, where she is learning how to preserve fruit, cook French tarts and conjugate French verbs accurately.

www.sophiebreese.com

The numbers in square brackets refer to the issue of the quarterly in which the article appears.
The unbracketed numbers refer to the starting page of the article.
For entries in multiple issues of the quarterly, the occurrences are separated by semi-colons.

articles by, [42] 19; [46] 89; [52] 80; [59] 79

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20150601151551 Sophie Breese on a room full of books in Marrakesh

Mustapha’s Room

Sophie Breese on a room full of books in Marrakesh

I had been book-starved for some years. It didn’t help that I was a literary snob and this was the pre-digital age. Earning a living by travelling around the world was extraordinary but I had forfeited good novels for this two-and-a-half-year experience. Sometimes I was lent books by clients but they weren’t always to my taste; I bought the odd second-hand novel from Aboudi’s bookshop in Luxor but they were hideously overpriced; and sometimes I was given a gem. Towards the end of my time in Egypt, another tour leader handed me Barbara Kingsolver’s The Poisonwood Bible through a window of the departing Cairo-Aswan sleeper train with a shouted promise that I wouldn’t be able to put it down. She was right and I stayed up too late for several nights to finish this beautiful story of another part of Africa and overactive imaginations. Such finds were rare, sadly, and I ‘made do’, a state I didn’t much care for.
20140601121559

Sophia Fairclough and Me

Sophie Breese on the novels of Barbara Comyns

I was first introduced to Sophia Fairclough in 1985 by my new English teacher, the kind who came to lessons without notes and charmed those susceptible to such charm with his raw excitement for good writing. Sophia herself, although fictional, was immediately real to me: a quirky, self-deprecating, parentless artist who took people at face value and made many mistakes as a result. I loved her. I loved her naïvety, her optimism, even her self-destructive behaviour. I wanted to shake her into action but I also wanted to be her. She became an unlikely heroine for me, for though I planned to be a writer when I was older rather than an artist, I was quite prepared to suffer, to be poor, to live off tinned soup, even to fail in love, if these experiences enriched my writing.

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