White, Gillian. “Awful but Cheerful”. London Review of Books, pp. 8-10.
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Connections Sort descending | Author name | Excerpt |
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Textual Features | Kathleen Raine | |
Textual Features | Mary Elizabeth Coleridge | MEC
's poems have been likened, for their mysterious tone, to those of William Blake
. Among the eerie poems included in Fancy's Following is The Witch. Here the speaker, Geraldine (a sorceress), is... |
Textual Features | Ann Batten Cristall | The preface expresses admiration for both Burns
and George Dyer
. ABC
stresses her lack of education (which, critic Richard C. Sha
argues, associates herself with lower-class writers like William Blake
and Henry Kirke White |
Textual Features | Elizabeth Bishop | The volume reproduces in facsimile no fewer than sixteen drafts of one of EB
's best-known poems, One Art; Quinn's notes include snippets of rejection letters from the New Yorker. White, Gillian. “Awful but Cheerful”. London Review of Books, pp. 8-10. 10 |
Textual Production | Marghanita Laski | ML
dedicated this novel to her son Jonathan. She took her title from Blake
's The Little Boy Lost: Father, father where are you going? / Oh, do not walk so fast! / Speak... |
Textual Production | Eleanor Farjeon | The title is a quotation from William Blake
's Introduction to Songs of Experience. This poem begins, Hear the voice of the Bard! and concludes, The starry floor, / The wat'ry shore, / Is... |
Textual Production | Kathleen Raine | Early in her career KR
was known as a commentator on contemporary or near-contemporary, modernist poetry: a volume of her reviews written between January 1941 and March 1951 was published in 2002 as Defining the... |
Textual Production | Katharine Tynan | In this dedication she was taking a stand against the position of her own party, the Irish Nationalists, who had called for Wyndham's resignation (tendered in March this year) from his position as Chief Secretary... |
Textual Production | Q. D. Leavis | In this work the Leavises argue (radically modifying the view stated in The Great Tradition) that Dickens was an inheritor of Shakespeare
and Blake
, and a major influence on the formation of the... |
Textual Production | Penelope Lively | Once more the titles provoke curiosity. They include Venice, Now and Then, Grow Old Along with Me, the Best Is Yet to Be (opening line of a poem by Robert Browning
), Yellow... |
Textual Production | Kathleen Raine | |
Textual Production | Marina Warner | MW
's Into the Dangerous World: Some Reflections on Childhood and its Costs (in the Chatto Counterblasts Series) lambasted the British government for failing to provide an adequate standard of living for children. The... |
Textual Production | Eva Figes | EF
explicitly addressed to grandparents her Tales of Innocence and Experience. An Exploration, which is both a memoir and a collection of revisions of fairy-tales. By its allusion to Blake
, the title evokes... |
Textual Production | Margaret Gatty | Juliana Ewing
called MG
's collection of three stories, The Human Face Divine and Other Tales (titled from Paradise Lost), 1859, a very characteristic volume. Ewing, Juliana Horatia. “Margaret Gatty, 1885”. A Celebration of Women Writers, edited by Mary Mark Ockerbloom. xvi The Athenaeum Index of Reviews and Reviewers: 1830-1870. http://replay.web.archive.org/20070714065452/http://www.soi.city.ac.uk/~asp/v2/home.html. 1677 (1859): 812 To most readers today the... |
Textual Production | Marie Belloc Lowndes | For Mary King Patterson
of the New York Daily News (a personal friend), MBL
wrote It Is Happening Now, about England at war (an imaginary war, since the story was complete some months before... |
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