IB
began writing shortly before giving birth to her first child, and continued her work throughout her subsequent pregnancies and her children's infancies. Though she eventually became an editor for the Englishwoman's Domestic Magazine and Queen, she was never paid for her work.
Freeman, Sarah. Isabella and Sam: The Story of Mrs Beeton. Coward, McCann and Geoghegan, 1977.
Throughout her life, EB
's employment at anything other than writing was never more than sporadic. On graduation in 1934 she taught briefly at the USA School of Writing
(an exploitative institution about which she later wrote a satirical essay, and where she used the pseudonym of Mr. Margolies).
Deane, Nichola. “’Everything a Poet Should Be’: Elizabeth Bishop in Her Letters”. Elizabeth Bishop: Poet of the Periphery, edited by Linda Anderson and Jo Shapcott, Bloodaxe Books, 2002, pp. 143-58.
151
In 1943 she took a job grinding optical lenses, but this lasted only five days before illness made her resign. In September 1949 she was appointed for a year as Consultant in Poetry to the Library of Congress
in Washington, DC—a job and a place which made her unhappy. Her period there coincided with a drive to purge federal offices of homosexuals, who were considered a security threat. Suspected gay men and (fewer) lesbians were being fired at twice the rate of Communists and fellow-travellers. Bishop was carefully closeted and lonely.
Astley, Neil. “Elizabeth Bishop: A Bibliography; Elizabeth Bishop: Chronology”. Elizabeth Bishop: Poet of the Periphery, edited by Linda Anderson and Jo Shapcott, Bloodaxe Books, 2002, pp. 175-00.
195, 196
Anderson, Linda. “The Story of the Eye: Elizabeth Bishop and the Limits of the Visual”. Elizabeth Bishop: Poet of the Periphery, edited by Linda Anderson and Jo Shapcott, Bloodaxe Books, 2002, pp. 159-74.
159
Marshall, Megan. Elizabeth Bishop. A Miracle for Breakfast. Houghton Mifflin Harcourt, 2017.
EB
began her first job, teaching six- to eight-year-old boys at Bickley Park School
; she stayed there just one calendar year, and left with an excellent reference.
Stoney, Barbara. Enid Blyton. Hodder and Stoughton, 1974.
Eager to participate in the war effort despite her poor health, PB
worked as a relief worker with three thousand Belgian refugees at Hammersmith Town Hall.
Bottome, Phyllis. The Challenge. Harcourt, Brace and Company, 1953.
395
“Dictionary of Literary Biography online”. Gale Databases: Literature Resource Center-LRC.
After she finished her education in France, CMB
returned to England and found work as a governess. At first, she worked at schools in Dover and Brighton. Later she worked in a private home for a family in Leicestershire. It was at this time that she began contributing short stories to The Lamp, a Catholic penny magazine. A parcel of books
Drozdz, Gregory. Charlotte Mary Brame. Gregory Drozdz, 1984.
5
was her only payment for this early literary work.
Drozdz, Gregory. Charlotte Mary Brame. Gregory Drozdz, 1984.
5
Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/.
Anna Eliza Kempe (later AEB
) was advertised as making her acting debut in the role of Belvidera (in Thomas Otway
's Venice Preserv'd) at the BathTheatre
.
Stephen, Sir Leslie, and Sidney Lee, editors. The Dictionary of National Biography. Smith, Elder, 1908–2025, 22 vols. plus supplements.
Bray, Anna Eliza. Autobiography of Anna Eliza Bray. Editor Kempe, John A., Chapman and Hall, 1884.
After graduating from the Slade School of Art, DB
became a professional artist. Her most famous early exhibition piece was War Widows, painted in 1916, in which a crowd of black-clad pregnant women take part in a sewing bee. The New English Art Club
, which worshipped French Impressionism and took an anti-academic approach to the canon of art, was a fitting place to show this picture. Brett's next ambitious work, Umbrellas, presents a fair bit more colour and far more recognizable characters similarly assembled under the eponymous umbrellas. The central figure of Lady Ottoline Morrell
sits flanked by Julian Morrell
, Aldous Huxley
, Lytton Strachey
, and DB
herself, whilst Katherine Mansfield
and John Middleton Murry
huddle together in the background. The celebrity factor notwithstanding, Umbrellas failed to qualify for that year's NEAC exhibition, but was accepted into the London Group
's spring exhibition of 1918. The London Group rejected Brett's portrait of Lady Ottoline Morrell a few years later, but in 1921-2 she exhibited at the Grosvenor Gallery
.
Hignett, Sean. Brett. Franklin Watts, 1985.
79-81
Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/.
Elinor, Gillian. “Dorothy Brett’s Painting: From Bloomsbury to Taos”. Woman’s Art Journal, Vol.
12
, No. 2, Woman’s Art Inc., 1991, pp. 9-14.
11
The Sunday Times art critic, Frank Rutter
, praised Umbrellas as radiant and joyous in its application of colour, with a touch of futurism bolstering its stylistic relevance.
Rutter, Frank. “The Galleries: The Friday Club”. The Sunday Times, No. 4958, 14 Apr. 1918, p. 4.
Rutter was in good company in his appreciation of Brett's ebullient colour technique: Katherine Mansfield apparently believed colour to be what Brett's art depended upon.
During the Second World War CBR
joined the WAAF
and was posted to the intelligence operation at Bletchley Park, Bletchley, Buckinghamshire, as an Information Officer to decoding intercepted enemy messages.
“Contemporary Authors”. Gale Databases: Literature Resource Centre-LRC.
Birch, Sarah. Christine Brooke-Rose and Contemporary Fiction. Clarendon Press, 1994.
EB
was known for her particular skill with children: making friends with them, interesting them in reading their Bibles, and influencing them for good.
Bury, Elizabeth. An Account of the Life and Death of Mrs Elizabeth Bury. Editor Bury, Samuel, Printed by and for J. Penn and sold by J. Sprint, 1720.
While her children were little CB
practised self-sufficiency farming at a farm called Avonbank, near Strathaven, in the west of Scotland.
Blain, Virginia et al., editors. The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present. Yale University Press; Batsford, 1990.
Byron, Catherine. “The Most Difficult Door”. Women’s Lives into Print, edited by Pauline Polkey, Macmillan, 1999, pp. 185-96.
Her first months after leaving school were spent as a teaching assistant in Bideford, where Barbara Seton
, a cousin of Mary and Agnes Berry, had opened a school.
Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/.
In 1814, TC
left the University of Edinburgh
and started teaching, taking up a position at Annan Academy
. He returned to Edinburgh in 1819 to pursue his literary aspirations. While there, he also worked as a tutor and reviewer. In 1824 and 1827 he published translations of Goethe
. He also published in several periodicals.
Drabble, Margaret, editor. The Oxford Companion to English Literature. 5th ed., Oxford University Press, 1985.
Corey, Melinda, and George Ochoa, editors. The Encyclopedia of the Victorian World. Henry Holt and Company, 1996.
The Concise Dictionary of National Biography: From Earliest Times to 1985. Oxford University Press, 1992, 3 vols.