genres and stories. As a result, Winterson argues that the novel is not merely autobiographical: ‘[it is] an experimental novel: its interests are anti-linear. It offers a complicated narrative structure disguised as a simple one’ (2000). She includes mythical stories and also intertwines elements of fairy-tales creating a ‘metafiction’ (Linda Hutcheon). For example, Jeanette is often seen utilising fairy-tales in order to understand the outside world in comparison to her own world and feelings. Despite this, there are stark similarities to Jeanette’s life and Winterson’s upbringing, indicating that there is a crossover of characters. Both were brought up in highly religious homes with an overbearing mother, and Winterson grew up reading the Bible which again is a crossover between her life and the biblical references throughout Oranges. Additionally, Winterson’s lesbianism caused conflict and division with her mother and also congregation which is identical to the character of Jeanette. Linda Hutcheon argues that ‘the intertexts of history and fiction take on parallel’ (2003, p.124). This theory can be applied to Oranges. The autobiographical elements and also the use of Bible intertextuality can be seen as historical aspects which fuse with the fictional narrative of a female Bildungsroman. Moreover, Jeanette’s mother is not only interlinked with Winterson’s mother but she is described in ‘Genesis’ to be an embodiment of the Old Testament. Despite being highly religious, she is a hypocritical character and her acts of goodwill perpetually come from a selfish place. She shares the less forgiving nature of God in the Old Testament, behaving vengefully when she is upset or someone acts in a way that she strongly disagrees with. Furthermore, in the first chapter, Jeanette’s mother is comparable to that of the character of Abraham who spread God’s teachings to children and followers. She creates Jeanette’s initial connection and bond with God and raises her to >