Little is known of the 14th-century English anchoress Christine Carpenter, but a book and a film have decided on versions of her life and motives.
Anchoress of Shere by Paul L. Moorcraft (2002) shifts between a narrative of medieval events and the chronicle of the psychopathic Catholic priest recreating the history while pursuing his own violent fantasies. The book is published by Poisoned Pen Press but is not a diverting mystery, like a Brother Cadfael or Sister Fidelma. It is a sadistic and masochistic tract. Even from the point of view of the contradictory plot, how can the mad protagonist know anything about spirituality? For that matter, how can a reader learn anything about a medieval anchoress, or the novelist presume to explain anchoritic spirituality?
Being a visual medium, the film Anchoress (1995) can do a little more with an imaginative setting, realistic atmosphere, and characterization. But no comment — not having seen the film. Critics concentrate on the uninspired acting, though the plot seems more plausible. But salaciousness is always the theme of the day. This is not the spirituality of Julian of Norwich or the daily eremitical life addressed by Aelred’s Guide for Anchoresses.
Thankfully, modern minds have done little more to eremitism than these two awful versions.