The Collected Short Stories of Katherine Mansfield (Wordsworth Classics)

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Sunday Theatre | Television New Zealand | Television | TV One, TV2, U, TVNZ 7". Archived from the original on 26 September 2011. a b c d e f g h i j k l m n o p q r s t u Woods, Joanna (2007). "Katherine Mansfield, 1888–1923". Kōtare. Victoria University of Wellington. 7 (1): 68–98. doi: 10.26686/knznq.v7i1.776 . Retrieved 13 October 2008. David Daiches, Katherine Mansfield and the Search for Truth in Rhoda B Nathan (ed), Critical Essays on Katherine Mansfield (New York, Maxwell MacMillan International, 1993) The Journal of Katherine Mansfield, edited by Murry (London: Constable, 1927; New York: Knopf, 1927).

Kaplan, Sydney Janet (2010) Circulating Genius: John Middleton Murry, Katherine Mansfield and D. H. Lawrence. Edinburgh: Edinburgh University Press Behind the rotunda the slender trees with yellow leaves down drooping, and through them just a line of sea, and beyond the blue sky with gold-veined clouds. Nonfiction: Novels and Novelists, 1930 (J. M. Murry, editor); The Collected Letters of Katherine Mansfield, 1984-1996 (4 volumes); The Katherine Mansfield Notebooks, 1997 (2 volumes).Sun and Moon, a young boy and girl, are home while their parents are preparing for a party. They’re being put to bed before it starts. Lee, Hermione (29 May 2004). "Capturing the chameleon". The Guardian. London . Retrieved 13 June 2023. Marvin Magalaner, The Fiction of Katherine Mansfield (Carbondale, Ill.: Southern Illinois University Press, 1971). Mansfield’s two longest works of fiction, “Prelude” and “At the Bay,” are strikingly different from conventional short stories. Both take a slight narrative line and string on it a number of short episodes and intense renderings of the inner lives of members—mainly female—of an extended family. In both, readers are set down among these people without preparation; they must work out their relations for themselves. In both, readers must take time to discover the rich vision that Mansfield is giving them. The Journal of Katherine Mansfield, "Definitive Edition," edited by Murry (London: Constable, 1954).

O'Sullivan, "The Magnetic Chain: Notes and Approaches to K. M.," Landfall: The New Zealand Quarterly, 114 (June 1975): 95-131. Mansfield, Katherine; O'Sullivan, Vincent (ed.), et al. (1996) The Collected Letters of Katherine Mansfield: Volume Four: 1920–1921, pp. 249–250. Oxford: Clarendon Press. Retrieved 20 July 2020 (Google Books) De Groen, Alma (1988). The rivers of China. Sydney: Currency Press. ISBN 086819171X. OCLC 19319529.Until relatively recently, women have been noticeable only by their absence from the tradition of Anglo-American high modernism. T.S. Eliot, Ezra Pound, Joseph Conrad, D.H. Lawrence and W.B. Yeats – these are the names which have dominated the English modernist literary canon, with Virginia Woolf representing a token female presence. From 4 June to 16 August 1922 Mansfield and Murry returned to Switzerland, living in a hotel in Randogne. Mansfield finished " The Canary", the last short story she completed, on 7 July 1922. She wrote her will at the hotel on 14 August 1922. They went to London for six weeks before Mansfield, along with Ida Baker, moved to Fontainebleau, France, on 16 October 1922. [25] [8] Perhaps pointing to the unknowability of other people, “Psychology” points to the early twentieth century’s fascination with the emerging science of psychology. Such was the fascination that the twentieth century is sometimes referred to as the Freudian century – and it is no coincidence, therefore, that dreams feature heavily in “Prelude.”

Undiscovered Country: The New Zealand Stories of Katherine Mansfield, edited by Ian Gordon (London: Longman, 1974). The character Kathleen in Evelyn Schlag's 1987 novel Die Kränkung (published in English as Quotations of a Body) is based on Mansfield. [37] The paragraphs in the original full text of this short story, following, have been broken up for readability. This short story is in the public domain.The Letters of Katherine Mansfield, edited by J. M. Murry (2 volumes, London: Constable, 1928; 1 volume, New York: Knopf, 1929). Katherine Mansfield was, until recently, regarded as very much a minor figure in the development of modernism. But the growth of feminist literary criticism in the 1970s, particularly the work of Hélène Cixous and others in France , has led to a reappraisal of Mansfield’s work, and in particular her short stories. Mansfield met fellow student Ida Baker [4] at the college, and they became lifelong friends. [2] They both adopted their mother's maiden names for professional purposes, and Baker became known as LM or Lesley Moore, adopting the name of Lesley in honour of Mansfield's younger brother Leslie. [9] [10]

The Rivers of China by Alma De Groen, premiered at the Sydney Theatre Company in 1987, Sydney: Currency Press, ISBN 086819171X [44] In France during the summer of 1915, Mansfield spent time with her brother Leslie, reflecting on their family and life in New Zealand. Tragically, Leslie was killed during training for service in WWI; “blown to bits” while demonstrating how to throw a hand grenade, remarked Mansfield. Following his death, she drew upon the memories of New Zealand discussed with her brother in writing some of her most well-known work, including Bliss and Other Stories (1920), The Garden Party, and Other Stories (1922), and her novel The Aloe (1930).Darrohn, Christine. “‘Blown to Bits’: Katherine Mansfield’s ‘The Garden-Party’ and the Great War.” Modern Fiction Studies 44 (Fall, 1998): 514-539. Katherine Mansfield’s ( 14 October 1888 – 9 January 1923) themes are not hard to discover. In 1918, she set herself the tasks of communicating the exhilarating delicacy and peacefulness of the world’s beauty and also of crying out against “corruption.” A reader will soon make his or her own list of themes: the yearnings, complexities, and misunderstandings of love; loneliness, particularly of independent women; the superficiality of much of modern life; the erosions of time and forgetfulness; the beauty and indifferent power of the natural world, especially plant life and the sea. Her exact meanings are not so easily pinned down, for her tone is complex: She mixes witty satire and shattering emotional reversals. Moreover, she uses dialogue and indirect speech extensively, and she does not often seem to speak directly in her own voice; the reader is not sure exactly who is speaking. It is vital for readers to understand that Mansfield (like Chekhov, to whom she is often compared) does not conceal a hidden “message” in her stories. If a story appears to point in many directions, not all of which are logically consistent, that is the way Mansfield feels the whole truth is most honestly communicated. This essay suggests some of the ways these stories may be read. Laurie, Alison J. "Queering Katherine". Victoria University of Wellington. Archived from the original (PDF) on 25 March 2009 . Retrieved 23 October 2008. All upcoming public events are going ahead as planned and you can find more information on our events blog