Wolff, Cynthia Griffin. Emily Dickinson. Knopf.
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Connections Sort ascending | Author name | Excerpt |
---|---|---|
Literary responses | Wendy Cope | Reviewer Andrew O'Hagan
, however, applies a withering pen to WC
in a tirade about a general style of anthology which is, he says, frivolous or aimed at the lifestyle or selfhelp markets. His complaint... |
Literary responses | Rebecca Harding Davis | When it first appeared, RHD
's story met with wide critical acclaim and broad recognition from members of the American literary community. Davis, Rebecca Harding. “Biographical Introduction”. Life in the Iron Mills; or, the Korl Woman, edited by Tillie Olsen, The Feminist Press. 10 American National Biography. http://www.anb.org/articles/home.html. Olsen, Tillie. Silences. Virago. 117 |
Literary responses | Jennifer Johnston | This quotation was used to head an enthusiastic notice by US critic Julia Epstein
in the Washington Post Book World. Johnston, wrote Epstein, coils her language so tightly that she achieves the compression we... |
Literary responses | Laura Riding | She considered this book one of the two prime achievements of her writing life. Friedmann, Elizabeth. A Mannered Grace. Persea Books. 17 |
Leisure and Society | Rumer Godden | Her literary standards of judgement were high. Among women poets she accorded major status only to Sappho
, Christina Rossetti
, Emily Dickinson
—not Elizabeth Barrett Browning
—and to the more recent Edith Sitwell
and Marianne Moore
. Godden, Rumer. A Time to Dance, No Time to Weep. Macmillan. 218 and n |
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 Drabble, Margaret. The Waterfall. Penguin. 130 |
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. 4 |
Intertextuality and Influence | Penelope Shuttle | The first book that affected PS
deeply was Brontë
's Jane Eyre, with whose protagonist she identified. Steffens, Daneet. “Penelope Shuttle”. Mslexia, No. 33, pp. 46-8. 48 |
Intertextuality and Influence | Margiad Evans | At the end of the 1940s, when she was writing extremely hard, she began work on a book about Emily Brontë
. She abandoned it soon after her first epileptic seizure, feeling that it was... |
Intertextuality and Influence | Edna O'Brien | EOB
has named many women writers as important to her: she includes among these Jane Austen
, Emily Dickinson
, Elizabeth Bowen
, Anna Akhmatova
, Anita Brookner
, and Margaret Atwood
, adding: Every... |
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. 228 |
Intertextuality and Influence | Emily Brontë | Despite the slightness of her oeuvre and Wuthering Heights's initial lack of popularity, EB
emerged early as a major influence on other writers. Matthew Arnold
paid early tribute by comparing her to Byron
in... |
Intertextuality and Influence | Helen Oyeyemi | HO
identifies more as a reader than as a writer: she cites, alludes to, and rewrites a large number and variety of authors: Emily Dickinson
, Nella Larsen
, Louisa May Alcott
, and Simi Bedford |
Intertextuality and Influence | Elizabeth Barrett Browning | American poet Emily Dickinson
loved EBB
's poetry. The language of Aurora Leigh crops up throughout her oeuvre, and she recalls the transformative experience, sanctifying the soul, of her early reading in one poem: I... |
Intertextuality and Influence | Helen Oyeyemi | The novel is written from the perspective of an eight-year-old girl, Jessamy (Jess) Harrison (also called Wuraola in Nigeria), the only child of a Nigerian mother and a British father. The book chronicles Jess's loneliness... |
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