It takes hundreds of pages before we learn the story of Udolpho. Remember Wharton's "Mr Jones" and what effort it takes to get to Lady Juliana's ms, and how Mrs Clemm is murdered in retaliation and as a warning to Lady Jane. This is a classic gothic where (as Eve Sedgwick says) the story has a very hard time being told. This is not a story about a mother and child that's the barrier, the surface, the outer surface. It's not unpleasant to read nor is it about a mother-and-child primarily. So people come away either thinking this is a hard tough unpleasant book and don't buy it or making money from the London stage. No to tell anyone any details about the work lest we "spoil" it, prevents all discussion. The justification is probably that the critics "don't want to give anything away," an absurd counterproductive demand. The result is ignorance, misunderstanding, misrepresentation to some extent. The descriptions I've read of The Room have emphasized the mother-son relationship, and don't discuss at all how the pair came to be in the room or really anything specific at all. Life Mask ia another 18th century historical novelist based on an actress, at home theatricals, a lesbian diariest. I loved the first. I have read her Slammerkin, a book about a poverty-striken girl who goes into prostitution I began to want to read Emma Donoghue's The Room when I heard the book was nominated for the Mann Booker Prize and a description of the plot-design that made me think it was a modern gothic whereby a young woman and her baby are subjected to some form of live burial.
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