Wolff, Cynthia Griffin. Emily Dickinson. Knopf, 1986.
|Connections Sort descending||Author name||Excerpt|
At home the Lerner children learned Yiddish songs and made up silly plays.
Tillie was a difficult child, skipping family chores to spend time at the public library, with its huge painting of...
Reid, Panthea. Tillie Olsen: One Woman, Many Riddles. Rutgers University Press, 2010.
|Family and Intimate relationships||Joan Aiken|
|Friends, Associates||Julia Ward Howe|
|Friends, Associates||Sylvia Townsend Warner||
US poet Genevieve Taggard launched a literary friendship (and correspondence, from which Warner's surviving eighteen letters have recently been published) when she sent Warner a poem in 1941. Taggard was a poet particularly appreciated by...
|Intertextuality and Influence||Carol Shields||
Following an epigraph from Emily Dickinson , Tell all the truth but tell it slant,CS here experiments with melodrama, coincidence, and other infringements on naturalism.
She also experiments with many voices, including what...
Wachtel, Eleanor, editor. “Carol Shields”. More Writers and Company: New Conversations with CBC Radio’s Eleanor Wachtel, Vintage Canada, 1997, pp. 36 -56.
|Intertextuality and Influence||Adrienne Rich||
First published in 1971 (Rich's collections often include writings issued previously), the essay When We Dead Awaken: Writing as Re-Vision is described in 1988 by Elizabeth Meese as still inform[ing] much of the best work...
|Intertextuality and Influence||Anita Desai|
|Intertextuality and Influence||Anita Desai||
Influenced by Eliot 's Four Quartets, Clear Light of Day deals with time as destroyer and preserver, and with what the bondage of time does to people.
It is structured as a four...
Gopal, N. Raj. A Critical Study of the Novels of Anita Desai. Atlantic Publishers and Distributors, 1995.
|Intertextuality and Influence||Margaret Drabble||
Imagery of postpartum fluidity, particularly lactation, characterizes the lovers' growing passion and the descriptions of female sexual desire and orgasm. The narrative alternates between a schizoid third-person dialogue
and first-person narration as Jane attempts...
Drabble, Margaret. The Waterfall. Penguin, 1971.
|Intertextuality and Influence||Sylvia Kantaris||
The poems here are full of places—real ones, like St Ives, Zennor, a rain-forest in Queensland, Australia; also the dystopias of Snapshotland (where everyone is happy all the time.)
Kantaris, Sylvia. The Sea at the Door. Secker and Warburg, 1985.
|Intertextuality and Influence||Penelope Shuttle|
|Intertextuality and Influence||Margiad Evans|
|Intertextuality and Influence||Edna O'Brien|
|Intertextuality and Influence||Elaine Feinstein||
Lais considers Holbein 's painting of the courtesan of that name, who lived in ancient Corinth: a representation unexpectedly mild and benevolent, of a woman who cannot hide the evidence of grace.
Adcock, Fleur, editor. The Faber Book of Twentieth Century Women’s Poetry. Faber and Faber, 1987.