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Sylvia Townsend Warner created a self-portrait in the diaries she kept from 1927 until her death in 1978. In this selection, she writes of her friends and colleagues, her writing and music, her dog and cats, and her delight in gardens and housewifery. Above all, this is an account of a great love affair. Valentine Ackland came into the writer's life in 1931, bringing both sensual liberation and emotional anguish which was to last beyond death and evoke writing of power and honesty.
Winner of the John Llewellyn Rhys Prize 'One of the most shamefully under-read great British authors of the past 100 years' Sarah Waters The poet Sylvia Townsend Warner rose to sudden fame with the publication of her classic feminist novel Lolly Willowes in 1926, but never became a conventional member of London literary life, pursuing instead a long writing career in her own individualistic manner. Cheerfully defying social norms of the day, Warner lived in an openly homosexual relationship with the poet Valentine Ackland for almost forty years. Together, they were committed members of the Communist party and travelled twice to Spain during the Civil War, but Warner paid for her outspokenness with years of neglect, and channelled much of her emotional and intellectual energy into letters, poems and heart-breaking diaries that remained unpublished during her lifetime. In this enthralling and enlightening biography, Claire Harman tells the story of Warner's remarkable life and restores her to her rightful place as one of Britain's most unique and brilliant writers. "As passionate and truthful, elegant and enchanting as its subject." George D Painter "Harman skilfully weaves Sylvia's stories and letters into the biography, and the brilliance of the samples on display constantly takes you aback... Outstanding" Sunday Times
Very early in her career Sylvia Townsend Warner won recognition of a discerning group of writers and readers on both sides of rare imagination and originality increased with each new publication. In addition to publishing some twenty books she wrote thousands of letters, mainly to close friends and acquaintances, and these quite naturally provide a record of almost fifty years of the writer’s life. As the editor of the selection says, she had a connoisseur’s eye for the bogus and a hatred for assumptions of privilege – her heart was with the hunted, always, and her deep understanding of human behaviour makes the whole a remarkably compassionate volume. Her interests are wide-ranging, and we read of the pleasures of travel, Proust’s shortcomings as a literary critic, current politics, Rupert Brooke at the Café Royal, an eccentric moorhen, the Spanish Civil War. Above all, apart from their intrinsic interest and literary quality, Miss Warner’s letters reveal the special brand of wit and humour that pervades every word she writes.
A unique novel about life in a 14th-century convent by one of England's most original authors. Sylvia Townsend Warner’s The Corner That Held Them is a historical novel like no other, one that immerses the reader in the dailiness of history, rather than history as the given sequence of events that, in time, it comes to seem. Time ebbs and flows and characters come and go in this novel, set in the era of the Black Death, about a Benedictine convent of no great note. The nuns do their chores, and seek to maintain and improve the fabric of their house and chapel, and struggle with each other and with themselves. The book that emerges is a picture of a world run by women but also a story—stirring, disturbing, witty, utterly entrancing—of a community. What is the life of a community and how does it support, or constrain, a real humanity? How do we live through it and it through us? These are among the deep questions that lie behind this rare triumph of the novelist’s art.
In October 1927, Sylvia Townsend Warner was given a new notebook. At the end of the month, she began to write the diary which she was to keep until her death in 1978. Written for her own eye, rich in description and observation, her diary contains the details of her life, from the antics of her cats and plans for her garden, to her thoughts on friendship, writing and death. From the anecdotal early years to her love for her lifelong companion Valentine Ackland, through World War II and her traumatic near breakdown in 1949, to the final strange double life of her bereavement, the diary paints a striking picture of the writer's life, of the workings of her mind and the making of her art.
Sylvia Townsend Warner has increasingly become recognized as a significant and distinctive talent amongst twentieth-century authors. This volume explores her remarkable relationship with Valentine Ackland - her partner for forty years - by closely examining their letters and diaries alongside a selection of their other texts, in particular their poetry. This analysis reveals the crucial role their writing played in establishing, maintaining, and defending their intimacy and describes the emergence of an alternative textual world upon which they became wholly reliant. Examining how Warner and Ackland exploited the distance between their lived life and their accounts of it, gives rise to many fascinating and untold stories. Furthermore, in investigating the fluidity of the boundaries between letters, diaries and fiction this book also provides a fresh perspective on these life-writing forms. Warner and Ackland's need to speak as women, writers and lovers, shaped their texts, so that they became not simply records of events, nor acts of communication, but complex documents in which love is won and lost, myths are created, and lives are changed, as will be the perspectives of those who read this book.
In revolutionary Paris, a disaffected Victorian wife becomes enraptured by her husband’s mistress—a “brilliantly entertaining” historical fiction novel that was “far ahead of its time” (Guardian). “One of the great under-read British novelists of the 20th century . . . my favorite of her novels.” —Sarah Waters, author of Fingersmith Sophia Willoughby, a young Englishwoman from an aristocratic family and a person of strong opinions and even stronger will, has packed her cheating husband off to Paris. He can have his tawdry mistress. She intends to devote herself to the serious business of raising her two children in proper Tory fashion. Then tragedy strikes: the children die, and Sophia, in despair, finds her way to Paris, arriving just in time for the revolution of 1848. Before long she has formed the unlikeliest of close relations with Minna, her husband’s sometime mistress, whose dramatic recitations, based on her hair-raising childhood in czarist Russia, electrify audiences in drawing rooms and on the street alike. Minna, “magnanimous and unscrupulous, fickle, ardent, and interfering,” leads Sophia on a wild adventure through bohemian and revolutionary Paris, in a story that reaches an unforgettable conclusion amidst the bullets, bloodshed, and hope of the barricades. Sylvia Townsend Warner was one of the most original and inventive of twentieth-century English novelists. At once an adventure story, a love story, and a novel of ideas, Summer Will Show is a brilliant reimagining of the possibilities of historical fiction.
'A comic masterpiece' Patrick Gale, Guardian Pillar of society and stern upholder of Victorian values, god-fearing Norfolk merchant John Barnard presides over a large and largely unhappy family. This is their story - his brandy-swilling wife, their hapless offspring and their changing fortunes - over the decades. Sylvia Townsend Warner's last novel, The Flint Anchor gloriously overturns our ideas of history, family and storytelling itself. 'A novel created with solidity and subtlety of feeling, a fusion of warmth, wit and quietly biting shrewdness that are reminiscent of Jane Austen' Atlantic Review 'As a sustained work of historical imagination, it has few rivals ... one of the most acute and intelligent writers of her age' Claire Harman