Formby, Southport, Merseyside UK. 14 mars, 2015. Signature de livre Tapia-Bowes Sally-Anne à Formby Books. Tapia-Bowes Sally-Anne a obtenu son diplôme à l'Université Hope avec un diplôme en littérature anglaise et l'art contemporain. Elle est une ancienne employée de Pearson Casterman ayant travaillé comme un examinateur principal pour G.C.S.E. La littérature anglaise et l'examinateur en chef pour I.G.C.S.E. La littérature anglaise. Sa mère est son premier roman du crime aux suites son père et leurs parents à suivre. Thèmes de la série sont les familles dysfonctionnelles, de la santé mentale, la perte et le regret.

• Contributeur: MediaWorldImages / Alamy Banque D'Images
• ID de l’image: EHJ890
• Taille du fichier: 24,7 MB (1,2 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 3600 x 2400 px | 30,5 x 20,3 cm | 12 x 8 inches | 300dpi
• Date de la prise de vue: 14 mars 2015
• Lieu: Formby, Southport, Merseyside UK.

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Local author Sally-Anne Tapia-Bowes donates all proceeds from her debut novel HIS MOTHER to the charity YOUNG MINDS. Sally-Anne Tapia-Bowes said: ‘I have been writing stories for as long as I can remember. HIS MOTHER is my first novel. It is a psychological thriller, set in Southport. Although it is fictional, there are many parts in the novel which are undeniably autobiographical. It is a surreal experience putting what you know to be true into a story like this – in many ways it is a way for me to record fond memories and significant events forever. I find myself especially interested in and influenced by certain topics, topics such as dysfunctional families, mental health, loss and regret. The title of this novel is supposed to suggest an important link to the reasons behind the antagonist’s behaviour. It is important that both the roles of the antagonist, Mr Rimmer and the protagonist, Inspector Folkard, are given significance. This is why the chapters alternate from one to the other, a way of ensuring the reader gains a good understanding of both key characters. It is also a means for the reader to gain a better understanding of the killer’s motives – at times a sort of humanitarian view from the reader’s perspective. I suppose what I am attempting to explore is the question: ‘Can the reader feel any sympathy for a killer?’. The tense of each alternating chapter is also significant. I use the present tense for the chapters that involve the killer so that the reader is closer to the killer, like sitting in the same room, a witness to the events that unfold. I use the past tense for the chapters that present Inspector Folkard so that the reader stands back in the way she must do to catch her killer.’.

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