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The Collector is a thriller novel by English author John Fowles , in his literary debut. Its plot follows a lonely, psychotic young man who kidnaps a female art student in London and holds her captive in the cellar of his rural farmhouse.

Divided in two sections, the novel contains both the perspective of the captor, Frederick, and that of Miranda, the captive. The portion of the novel told from Miranda’s perspective is presented in epistolary form. Fowles wrote the novel between November and March It was adapted into an Academy Award —nominated feature film of the same name in starring Terence Stamp and Samantha Eggar.

The novel is about a lonely young man, Frederick Clegg, who works as a clerk in a city hall and collects butterflies in his spare time. The first part of the novel tells the story from his point of view. He admires her from a distance but is unable to make any contact with her because he is socially underdeveloped. One day, he wins a large prize in the football pools. He quits his job and buys an isolated house in the countryside. He feels lonely, however, and wants to be with Miranda.

Unable to make any normal contact, Clegg decides to add her to his “collection” of pretty, preserved objects, in the hope that if he keeps her captive long enough, she will grow to love him.

After careful preparations, he kidnaps Miranda by drugging her with chloroform and locks her up in the cellar of his house.

He is convinced that Miranda will start to love him after some time. However, when she wakes up, she confronts him with his actions. Clegg is embarrassed and promises to let her go after a month. He promises to show her “every respect”, pledging not to sexually molest her and to shower her with gifts and the comforts of home, on one condition: she can’t leave the cellar. The second part of the novel is narrated by Miranda in the form of fragments from a diary that she keeps during her captivity.

Miranda reminisces over her previous life throughout this section of the novel; and many of her diary entries are written either to her sister or to a man named G. Miranda reveals that G. At first, Miranda thinks that Clegg has sexual motives for abducting her; but, as his true character begins to be revealed, she realises that this is not true. She begins to pity her captor, comparing him to Caliban in Shakespeare ‘s play The Tempest because of his hopeless obsession with her.

Clegg tells Miranda that his first name is Ferdinand eventual winner of Miranda’s affections in The Tempest. Miranda tries to escape several times, but Clegg stops her. She also tries to seduce him to convince him to let her go.

The only result is that he becomes confused and angry. As Clegg repeatedly refuses to release her, she begins to fantasize about killing him. After a failed attempt to do so, Miranda enters a period of self-loathing. She decides that to kill Clegg would lower her to his level. She refrains from any further attempts to do so. Before she can try to escape again, she becomes seriously ill and dies. The third part of the novel is narrated by Clegg. At first, he wants to commit suicide after he finds Miranda dead; but, after he reads in her diary that she never loved him, he decides that he is not responsible for what happened to her and is better off without her.

He buries her corpse in the garden. The book ends with his announcement that he plans to kidnap another girl. Literary scholars have noted the theme of class in the British caste system as a prominent point of interest in the novel. Some scholars have compared the power struggle between Frederick and Miranda as exemplifying the Hegelian ” master—slave dialectic “, and that both exert power over one another—both physically and psychologically—despite their differences in social background.

In the Journal of Modern Literature , scholar Shyamal Bagchee attests that the novel possesses an “ironic- absurdist view” and contains a significant number of events which are hinged purely on chance. Bagchee notes the novel’s greatest irony being that Miranda seals her own fate by continually being herself, and that through “each successive escape attempt she alienates and embitters Clegg the more.

Fowles takes great care to show that Clegg is like no other person we know. It takes Miranda a long time get rid of her successive stereotyped views of Clegg as a rapist, an extortionist, or a psychotic. She admits to an uneasy admiration of him, and this baffles her. Clegg defies stereotypical description. Furthermore, Bagchee notes Miranda’s evolution as a character only while in captivity as another paradox in the novel: “Her growing up is finally futile; she learns the true meaning of existentialist choice when, in fact, she has very limited actual choice.

And she learns to understand herself and her life when, in effect, that life has come to a standstill. Bagchee notes that the divided narrative structure of the novel—which first presents the perspective of Frederick, followed by that of Miranda the latter divulged in epistolary form via scattered diary entries —has the characters mirroring each other in a manner that is “richly ironic and reveals of a sombre and frightening view of life’s hazards.

John Fowles is well established as a master of language, using a variety of tools to convey different meanings and bring his characters closer to his reader. He has written a novel which depends for its effect on total acceptance by the reader. There is no room in it for the least hesitation, the smallest false note, for not only is it written in the first person singular, but its protagonist is a very special case indeed.

Fowles’s main skill is in his use of language. There is not a false note in his delineation of Fred. In , Mary Andrews of The Guardian wrote that “Fowles invites us to defy his main character’s excuses and read between the lines, and the facts paint a more chilling picture. Fred doesn’t accidentally abduct Miranda, there’s a sense that he’s been leading up to this event his whole life,” and deemed Frederick Clegg “one of literature’s most evil characters.

The Collector has been adapted as a film and several times as a play. It’s also referred to in various songs, television episodes and books. The novel was adapted as a feature film by the same name in It starred Terence Stamp and Samantha Eggar. The novel was also loosely adapted into a Filipino film as a Bilanggo sa Dilim Prisoner in the Dark in In several cases since the novel was published, serial killers, spree killers, kidnappers , and other criminals have claimed that The Collector was the basis, the inspiration, or the justification for their crimes.

Lake is said to have been obsessed with The Collector. Lake described his plan for using the women for sex and housekeeping in a “philosophy” videotape. The two are believed to have murdered at least 25 people, including two entire families. Although Lake had committed several crimes in the Ukiah, California , area, his “Operation Miranda” did not begin until after he moved to remote Wilseyville, California.

The videotapes of his murders and a diary written by Lake were found buried near the bunker in Wilseyville. They revealed that Lake had named his plot Operation Miranda after the character in Fowles’ book. In , Robert Berdella held his male victims captive and photographed their torture before killing them.

He claimed that the film version of The Collector had been his inspiration when he was a teenager. From Wikipedia, the free encyclopedia. For other uses, see The Collector disambiguation. Main articles: Leonard Lake and Charles Ng. Binghamton, New York. The New York Times. Archived from the original on 19 July The Guardian.

Retrieved 15 February Retrieved 2 May Bloody Disgusting. Retrieved 19 October Archived from the original on 10 February Works by John Fowles.

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Download as PDF Printable version. First edition. Tom Adams.