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In The Journal of Mary Hervey Russell, Storm Jameson has chosen a form which enables her to use a rich supply both of public occurrences and personal knowledge and experience for the exercise of that imaginative observation which is characteristic of her best work. Whether she describes a chance meeting in Paris with a new French poet, or the reaction of delegates at the international conference of authors on the very eve of war, or her association with innumerable refugee intellectuals in London before and after Dunkirk; whether she is drawing one of her many astute comparisons between her own compatriots and some other people - generally the French - or comforting the wife of an Austrian professor just swept into internment, or bearing with the cynicism of some diplomat at the luncheon, she brings before us a panorama rather than a scene or an incident. But the real human interest of the book is the thread of her own life running through it, revealing in little intimate flashes, sometimes a reminiscence of childhood, sometimes a delicately drawn portrait, like that of her father, the old sea captain, and throughout the story the visionary presence of the mother who for her has never ceased to live.
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Death in war matters. It matters to the individual, threatened with their own death, or the death of loved ones. It matters to groups and communities who have to find ways to manage death, to support the bereaved and to dispose of bodies amidst the confusion of conflict. It matters to the state, which has to find ways of coping with mass death that convey a sense of gratitude and respect for the sacrifice of both the victims of war, and those that mourn in their wake. This social and cultural history of Britain in the Second World War places death at the heart of our understanding of the British experience of conflict. Drawing on a range of material, Dying for the nation demonstrates just how much death matters in wartime and examines the experience, management and memory of death. The book will appeal to anyone with an interest in the social and cultural history of Britain in the Second World War.
This collection of essays challenges conceptions of "high" modernism. The book focusses specifically on women's cultural production, covering a wide range of arts and genres including chapters on painting, theatre, and magazines.
The 20th century witnessed several major cultural movements, including modernism, anti-modernism, and postmodernism. These and other means of understanding and perceiving the world shaped the literature of that era and, with the rise of feminism, resulted in a particularly rich body of literature by women writers. This reference includes alphabetically arranged entries on 58 British women writers of the 20th century. Some of these writers were born in England, while others, such as Katherine Mansfield and Doris Lessing, came from countries of the former Empire or Commonwealth. The volume also includes entries for women of color, such as Kamala Markandaya and Buchi Emecheta. Each entry is written by an expert contributor and includes an overview of the writer's background, an analysis of her works, an assessment of her achievements, and lists of primary and secondary sources. The volume closes with a selected, general bibliography.
One of the 20th century's finest memoirs of literary and political life, with an introduction by Vivian Gornick, who referred to the book as “literary gold” “Stops you in your tracks. I would like to persuade everyone to read it” — Sunday Times A compulsively readable, beautifully written account of a fascinating twentieth-century woman and life. This candid, affecting portrait of a woman who loathed domesticity explores how she sought to balance a literary career with political commitment. Towards the end of her life, the writer Storm Jameson began her memoir by asking, “can I make sense of my life?” This question propelled her through an extraordinary reckoning with how she had lived: her early years in Whitby, shadowed by her tempestuous, dissatisfied mother; an early, unhappy marriage and repeated flights from settled domesticity; a tenaciously pursued literary career, always dogged by a lack of money; and her lifelong political activism, including as the first female president of English PEN, helping refugees escape Nazi Germany. In a richly ironic, conversational voice, Jameson tells also of the great figures she knew and events she witnessed: encounters with H.G. Wells and Rose Macaulay, travels in Europe as fascism was rising and a 1945 trip to recently liberated Warsaw. Throughout, she casts an unsparing eye on her own motivations and psychology, providing a rigorously candid and lively portrait of her life and times.
An examination of private narratives of loss in wartime and publicly legitimized forms of grieving. Drawing on sources such as diaries, poetry and weblogs and using gender as an analytic category, the book looks at men's and women's experiences of war 'at home' and 'at the front' and spans the two World Wars, the Vietnam War and the war in Iraq.