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Katherine Mansfield was a formidable critic: astute, witty and something more - she had, as Middleton Murry put it, an extraordinary style and critical verve, mastery and 'sureness of touch'. This is the first scholarly edition of her critical writings. A substantial introduction sets the scene for an understanding of Katherine Mansfield's position as a woman writer on the edge of, but never completely accepted by, Bloomsbury; responding to the pressures of the First World War, illness and exile, and attempting to reconcile the facts of life with the truths of fiction. Careful annotation supplies essential information for following the evolution of her ideas - and her art - from 1907 until her death in 1923.
Katherine Mansfield's non-fiction collected in one volume for the first time
This four-volume edition of Katherine Mansfield's works, assembled by Series Editor Gerri Kimber and her co-editors, brings together, for the first time, everything Mansfield wrote aside from her letters (which have their own edition).
The resurgence of interest in Katherine Mansfield (1888-1923) in recent years has grown to the extent that she is now perceived as 'the most emblematic woman writer of her time'. The Edinburgh edition of her stories is a truly complete collection of the author's fiction writing.
A foremost practitioner of English short-story writing, the wife of John Middleton Murry, and a gifted writer of rare psychological insight, Katherine Mansfield achieved literary distinction which still inspires critical interest nearly fifty years after her death in 1923at the age of thirty-five. The continuing vitality of her writing and the depth of her insight into the human condition is here brilliantly assessed by Marvin Magalaner.
Considered one of the greatest short story writers of her generation, Katherine Mansfield was a modernist writer from New Zealand. This collection includes thirty-five of her most popular stories. In this volume you will find the following stories: "The Tiredness of Rosabel," "At Lehmann's," "Frau Brechenmacher Attends a Wedding," "The Swing of the Pendulum," "The Woman at the Store," "How Pearl Button Was Kidnapped," "Ole Underwood," "Millie," "Bains Turcs'," "The Little Governess," "An Indiscreet Journey," "The Wind Blows," "Prelude," "A Dill Pickle," "Je Ne Parle Pas Francais," "Bliss," "Psychology," "Pictures," "The Man Without a Temperament," "Revelations," "The Escape," "The Young Girl," "The Stranger," "Miss Brill," "Poison," "The Daughters of the Late Colonel," "Life of Ma Parker," "Her First Ball," "Marriage y la Mode," "At the Bay," "The Voyage," "The Garden Party," "The Doll's House," "The Fly," and "The Canary."
This book assesses the reason why Katherine Mansfield's reputation in France has always been greater than in England. It examines the ways in which the French reception of Mansfield has idealised her persona to the extent of crafting a hagiography. Mansfield is placed within the general literary context of her era, exploring French literary tendencies at the time and juxtaposing them with the main literary trends in England. The author determines the motives behind the French critics' desire to put Mansfield on a pedestal, discusses how the three years she spent on French soil influenced her writing and whether the translations of her work collude in the myth surrounding her personality. This book is the first sustained attempt to establish interconnections between her own French influences (literary and otherwise) and the myth-making of the French critics and translators. The book also follows the critical appraisal of Mansfield's life and work in France from her death up to the present day, by closely analysing the differing French critical responses. The author reveals how these various strands combine to create a legend which has little basis in fact, thereby demonstrating how reception and translation determine the importance of an author's reputation in the literary world.
Taking on the neglected issue of the short story's relationship to literary Modernism, Claire Drewery examines works by Katherine Mansfield, Dorothy Richardson, May Sinclair, and Virginia Woolf. Drewery argues that the short story as a genre is preoccupied with transgressing boundaries, and thus offers an ideal platform from which to examine the Modernist fascination with the liminal. Embodying both liberation and restriction, liminal spaces on the one hand enable challenges to traditional cultural and personal identities, while on the other hand they entail the inevitable negative consequences of occupying the position of the outsider: marginality, psychosis, and death. Mansfield, Richardson, Sinclair, and Woolf all exploit this paradox in their short fiction, which typically explores literal and psychological borderline states that are resistant to rational analysis. Thus, their short stories offered these authors an opportunity to represent the borders of unconsciousness and to articulate meaning while also conveying a sense of that which is unsayable. Through their concern with liminality, Drewery shows, these writers contribute significantly to the Modernist aesthetic that interrogates identity, the construction of the self, and the relationship between the individual and society.
Pursuing art and adventure across Europe, Katherine Mansfield lived and wrote with the Furies at her heels. Dying at the age of only 34, she became posthumously one of the most influential writers of the last century. Sexually ambiguous, craving love yet quarrelsome and capricious, she glittered in the brilliant circles of DH Lawrence and Virginia Woolf, her beauty and recklessness inspiring admiration, jealousy, rage and devotion. Claire Tomalin's biography brings her nearer than we have ever been to this haunted and haunting writer.