The Collected Short Stories of Katherine Mansfield (Wordsworth Classics)

Product Information

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. Jones & Jones by Vincent O'Sullivan, a Downstage commission for the Mansfield centenary [45] in 1989: Victoria University Press, ISBN 0864730942 The Garden Party" is a 1922 short story by Katherine Mansfield. It was first published (as " The Garden-Party") in three parts in the Saturday Westminster Gazette on 4 and 11 February 1922, and the Weekly Westminster Gazette on 18 February 1922. [1] It later appeared in The Garden Party and Other Stories. [2] Its luxurious setting is based on Mansfield's childhood home at 133 Tinakori Road (originally numbered 75), the second of three houses in Thorndon, Wellington that her family lived in. a b c Mansfield, Katherine (2001) The Montana Stories London: Persephone Books. (A collection of all Mansfield's work written from June 1921 until her death, including unfinished work.) Miss Brill didn’t know whether to admire that or not! And now an ermine toque and a gentleman in grey met just in front of her. He was tall, stiff, dignified, and she was wearing the ermine toque she’d bought when her hair was yellow. Now everything, her hair, her face, even her eyes, was the same colour as the shabby ermine, and her hand, in its cleaned glove, lifted to dab her lips, was a tiny yellowish paw.

It was like some one playing with only the family to listen; it didn’t care how it played if there weren’t any strangers present. Wasn’t the conductor wearing a new coat, too? She was sure it was new. He scraped with his foot and flapped his arms like a rooster about to crow, and the bandsmen sitting in the green rotunda blew out their cheeks and glared at the music. She glanced, sideways, at the old couple. Perhaps they would go soon. Last Sunday, too, hadn’t been as interesting as usual. An Englishman and his wife, he wearing a dreadful Panama hat and she button boots. 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] Katherine Mansfield: Publications in Australia, 1907-09, edited by Jean E. Stone (Sydney: Wentworth Books, 1977).The Scrapbook of Katherine Mansfield, edited by Murry (London: Constable, 1939; New York: Knopf, 1939). 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.” The Library's buildings remain fully open but some services are limited, including access to collection items. We're

This story can be read in the preview of The Best Short Stories of Katherine Mansfield. The Tiredness of Rosabel O’Sullivan, Vincent, and Margaret Scott (eds.), The Collected Letters of Katherine Mansfield, Volume 4: 1920-1921 (Oxford: Clarendon Press, 2004). LM (1971). Katherine Mansfield: the memories of LM. Michael Joseph, reprinted by Virago Press 1985. p.21. ISBN 0-86068-745-7. Death and life. The writer handles the theme of death and life in the short story. Laura's realization that life is simply marvellous shows death of human beings in a positive light. Death and life co-exist, and death seems to Laura merely a sound sleep far away from troubles in human life.Prelude” is split into twelve short, somewhat impressionistic sections, perhaps pointing to Mansfield’s admiration of the impressionist painter Vincent Van Gogh, whose Sunflowers “taught me something about writing, which was queer—a kind of freedom—or rather, a shaking free” (see Further Reading, O’Sullivan and Scott, p. 333). It also has strong symbolic qualities, as the aloe (after which the earlier version of the story was named) exerts a fascination on Mansfield’s characters. And, by way of literary influences, the title of the story point to T. S. Eliot’s “Preludes.” After she gets off work as a clerk at a hat counter, Rosabel thinks about her life and the customers she dealt with at the shop. Among them was a young woman trying on hats with her boyfriend. Rosa imagines what her life would be like if she were her. Katherine Mansfield: The Story-Teller, a biography by Royal Literary Fund Fellow Kathleen Jones, Viking Penguin, 2010, ISBN 9780670074358

Lappin, Linda. "Katherine Mansfield and D. H. Lawrence, A Parallel Quest", Katherine Mansfield Studies: The Journal of the Katherine Mansfield Society, Vol 2, Edinburgh University Press, 2010, pp. 72–86.

Mansfield had a brief affair with the French writer Francis Carco in 1914. Her visit to him in Paris in February 1915 [8] is retold in her story " An Indiscreet Journey". [4] Impact of World War I [ edit ] Maxim Gorky, Reminiscences of Tolstoy, Chekhov, and Andreev, translated by Mansfield, Koteliansky, and Leonard Woolf (London: Hogarth Press, 1934; New York: Howard Fertig, 1995). However, though Mansfield and Woolf have long been painted as bitter rivals, they were actually quite close as friends and as writing colleagues. J.M. Murry wrote in Reminiscences of D.H. Lawrence (1933): "I have been told, by one who should know, that the character of Gudrun in Women in Love was intended for a portrait of Katherine [Mansfield]. If this is true, it confirms me in my belief that Lawrence had curiously little understanding of her... And yet he was very fond of her, as she was of him." [34] Murry said that the fictional incident in the chapter "Gudrun in the Pompadour" - when Gudrun tears a letter from Julian Halliday's hands and storms out - was based on a true event at the Cafe Royal. [35]

Class consciousness. Laura feels a certain sense of kinship with the workers and again with the Scotts. An omniscient narrator also explains that, as children, Laura, Jose, Meg, and Laurie were not allowed to go near the poor neighbours' dwellings, which spoil their vista. Harman, Claire, All Sorts of Lives: Katherine Mansfield and the Art of Risking Everything (London: Vintage, 2023). Mansfield was diagnosed with tuberculosis in 1917 but continued to write on a daily basis until she could no longer do so by 1922. Fighting mightily to combat her illness, she entered the Institute for the Harmonious Development of Man in France. At Fontainebleau, Mansfield lived at G. I. Gurdjieff's Institute for the Harmonious Development of Man, where she was put under the care of Olgivanna Lazovitch Hinzenburg (who later married Frank Lloyd Wright). As a guest rather than a pupil of Gurdjieff, Mansfield was not required to take part in the rigorous routine of the institute, [26] but she spent much of her time there with her mentor Alfred Richard Orage, and her last letters inform Murry of her attempts to apply some of Gurdjieff's teachings to her own life. [27] The Stories of Katherine Mansfield, edited by Antony Alpers (Oxford & New York: Oxford University Press, 1984).Just at that moment a boy and girl came and sat down where the old couple had been. They were beautifully dressed; they were in love. The hero and heroine, of course, just arrived from his father’s yacht. And still soundlessly singing, still with that trembling smile, Miss Brill prepared to listen. Kathleen Mansfield Murry (née Beauchamp; 14 October 1888 – 9 January 1923) was a New Zealand writer and critic who is considered to be an important author of the modernist movement. Her works are celebrated across the world, and have been published in 25 languages. [1] 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. It seemed to me a small petty world; I longed for ‘my’ kind of people and larger interests and so on. And after a struggle I did get out of the nest finally and came to London, at eighteen, never to return, said my disgusted heart.” Exploring the short story form In many ways, “Bliss” seems to bear some Woolfian hallmarks. The story is set immediately before and during a dinner party held by Bertha and Harry Young, just as Woolf would go on to place parties at the center of Mrs Dalloway and the first section of To the Lighthouse. Bertha anticipates the arrival of Pearl Fulton, a friend of hers, with such excitement that she experiences a strange sensation of bliss that verges on the homoerotic. While she experiences this sensation, she looks into her garden at a pear tree, which she then invests with symbolic resonance. During the party, she and Pearl gaze at the tree together in what Bertha believes to be an intimate moment of mutual understanding. When Pearl betrays her before the evening is over, however, it seems that Bertha has misread their relationship and perhaps the symbolism of the pear tree, too.