Julia Briggs

EN 's and Barron's collaborative stories reflect his antiquarian interests in what biographer Julia Briggs calls general gadzookery. Derogatory as this term is, Briggs credits Barron with teaching EN that sense of the...

Julia Briggs reads the text as a roman à clef in which Scudéry is an unflattering portrait of Natalie Barney (whom HM would have encountered when herself living in Paris) while Harrison appears as the...

Reckoning by numbers of reprints issued, Lud-in-the-Mist is HM 's most popular and enduring work. It was frequently re-issued between 1927 and 2000—especially, as Julia Briggs notes, since 1970, and the vogue for J. R. R. Tolkien

Virginia Woolf hand-set the edition. The colophon uses the sign of the constellation Ursa Major (as did those of HM 's three novels). Suzanne Henig reprinted it in the Virginia Woolf Quarterly in 1972...

Paris was received by an appreciative audience. Before its publication Virginia Woolf described it as very obscure, indecent, and brilliant.As Julia Briggs observes, its readership remained strictly limited; [but] those, like T. S. Eliot

Growing interest in HM was reflected in Julia Briggs 's discussion about her contributions to modernist literary culture in her Reading Virginia Woolf, 2006. Recognition of the significance of the author's work has grown...

The volume brings many unpublished poems to light, and its editorial apparatus includes comment written by Julia Briggs before her death. Parmar is at work on a full scholarly biography.

By this date, according to Julia Briggs , she had already fallen under the influence of Nathaniel Hawthorne 's The Marble Faun, 1860, (an influence she shared with Henry James ).

JEH 's work exerted a palpable influence on the Modernist movement in literature, and both her persona and her life's work were represented, sometimes in much modified form, in many creative texts. Critic Julia Briggs

Julia Briggs considered that another story in this collection never really closes the gap between its fearful vision and its humdrum setting.

For Julia Briggs this story was the masterpiece of the volume into which it was later collected.

Bowen described these stories as flying particles of something enormous and inchoate.Taken singly, they are disjected snapshots—snapshots taken from close up, too close up, in the middle of the mêlée of a battle...

LCA (whom critic Julia Briggs calls both a patron and practitioner of the ghost-story) published her first collection of this genre, entitled The Ghost Book: Sixteen New Stories of the Uncanny.