Enright, Anne. “An annoyance to Irish literary males”. Guardian Weekly, 2 Nov. 2012, pp. 38-9.
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Connections Sort descending | Author name | Excerpt |
---|---|---|
Family and Intimate relationships | Edna O'Brien | Ernest was by this time a relatively successful writer, but a controlling and disappointed man who was jealous of her talent. Enright, Anne. “An annoyance to Irish literary males”. Guardian Weekly, 2 Nov. 2012, pp. 38-9. 38 |
Intertextuality and Influence | Margery Allingham | The idea for this character shift came from her US publishers, Doubleday Doran
. But the book was more fundamentally and crucially influenced by the collaboration of MA
's husband Pip Carter
. She always... |
Literary responses | Patricia Highsmith | Her Doubleday
editor wrote: although it was so very complex, it all fell together beautifully. . . . She was what I call a real caviar writer. qtd. in Wilson, Andrew Norman. Beautiful Shadow: A Life of Patricia Highsmith. Bloomsbury, 2003. 281 |
Publishing | Tillie Olsen | The stories were I Stand Here Ironing, Hey Sailor, What Ship?, O Yes, and the title story. Lippincott
, who first published the volume, lost money on it. It was published in... |
Publishing | Daphne Du Maurier | |
Publishing | Margery Allingham | |
Publishing | Germaine Greer | As she later told the story, her agent suggested a book (in connection with the fiftieth anniversary of the Representation of the People Act of 6 February 1918, when women got the vote) on why... |
Publishing | Virginia Woolf | VW
negotiated with American publishers over the rights to The Voyage Out and Night and Day; George H. Doran
of New York became her first American publisher. Woolf, Virginia. The Letters of Virginia Woolf. Editors Nicolson, Nigel and Joanne Trautmann, Hogarth Press, 1975–1980, 6 vols. 2: 401, 403 |
Publishing | Virginia Woolf | The following year, for the first time in her career, she was earning more by her novels than by her essays and reviews. Her earned income grew markedly during this period, and she took much... |
Publishing | Patricia Highsmith | Doubleday
published PH
's novel The Glass Cell, but only after compelling her to do a great deal of painful cutting which left some pages of the former version only three lines long. Wilson, Andrew Norman. Beautiful Shadow: A Life of Patricia Highsmith. Bloomsbury, 2003. 250 Highsmith, Patricia. Plotting and Writing Suspense Fiction. St Martin’s Press, 1990. 124, 130 |
Publishing | Margery Allingham | She based it on a family story of her forebears: an early-nineteenth-century John Allingham who had a second family by Charlotte Duncan, in addition to his legitimate family. Martin, Richard, 1934 -. Ink in Her Blood: The Life and Crime Fiction of Margery Allingham. UMI Research Press, 1988. 133 |
Publishing | Mary Wesley | |
Publishing | Patricia Highsmith | PH
's crime novel without a murder appeared first as The Story-Teller in New York (for Doubleday
's Crime Club) and later in the UK for Heinemann
as A Suspension of Mercy. Wilson, Andrew Norman. Beautiful Shadow: A Life of Patricia Highsmith. Bloomsbury, 2003. 256-7 OCLC WorldCat. 1992–1998, http://www.oclc.org/firstsearch/content/worldcat/. Accessed 1999. Contemporary Authors: New Revision Series. Gale Research, 1981–2024, Numerous volumes. 62 |
Publishing | Patricia Highsmith | The first version was rejected by Harper and Row
with the comment: A book can stand one or even two neurotics, but not three who are the main characters. qtd. in Highsmith, Patricia. Plotting and Writing Suspense Fiction. St Martin’s Press, 1990. 128 |
Publishing | Ruby M. Ayres | The Uphill Road does not seem to have appeared in England. One might suppose that Ayres chose this manner of publication because of her almost incredible productivity in this year. She continued to issue occasional... |
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