Sellery, J’nan M., and William O. Harris. Elizabeth Bowen: A Bibliography. University of Texas.
97-8
Connections Sort ascending | Author name | Excerpt |
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Textual Production | Rumer Godden | RG
found this negotiation among publishers traumatic. She had updated Shakespeare
's The Tempest in the spirit of the entertainments which Graham Greene
used to intersperse among his serious novels. Spencer Curtis
thought the story... |
Textual Production | Elizabeth Bowen | Pictures and Conversations, a last collection of short pieces by EB
, was published posthumously in New York, edited by Spencer Curtis Brown
. Sellery, J’nan M., and William O. Harris. Elizabeth Bowen: A Bibliography. University of Texas. 97-8 Hoogland, Renée C. Elizabeth Bowen: A Reputation in Writing. New York University Press. 1-2 |
Textual Production | Norah Lofts | NL
began using the pseudonym Peter Curtis
once she started writing crime novels, as she did not want to lose readers who preferred her historical fiction. She formed her masculine pseudonym by combining the name... |
Textual Production | Elizabeth Bowen | Having had her style criticised in her previous novel for convolution, she appealed to Spencer Curtis Brown
to point out any examples in the new book, to prevent her from developing stylistic tricks; initial criticism... |
Textual Production | Elizabeth Bowen | She wrote this play for a performance in Limerick Cathedral. (An early version had already been given in the village church at Hambledon in Hampshire.) Glendinning, Victoria. Elizabeth Bowen. Alfred A. Knopf. 293 and n |
Textual Production | Githa Sowerby | It ran for sixty-three performances, and was published by Samuel French
in 1913. OCLC WorldCat. http://www.oclc.org/firstsearch/content/worldcat/. Accessed 1999. Nicoll, Allardyce. English Drama, 1900-1930. Cambridge University Press. 959 |
Textual Production | Ivy Compton-Burnett | After her previous book's success, she had acquired an agent (David Higham
of Curtis Brown
, who also handled Rose Macaulay
and Vita Sackville-West
). In later years she dealt with Spencer Curtis Brown |
Textual Production | Rumer Godden | Theatre rights to Black Narcissus were sold within a month of its appearance. A script was commissioned in the USA which RG
found farcical. Godden, Rumer. A Time to Dance, No Time to Weep. Macmillan. 137 |
Textual Production | Rumer Godden | She dedicated it To Jon
and the spirit of little Joss, who was born there, and used an epigraph translated from Chinese by Arthur Waley
. Godden, Rumer. Rungli-Rungliot. P. Davies. prelims |
Reception | Rumer Godden | RG
herself had misgivings about Gypsy, Gypsy, but her publisher Peter Llewelyn Davies
wrote of being enchanted by the story. Godden, Rumer. A Time to Dance, No Time to Weep. Macmillan. 143 |
Publishing | Hélène Barcynska | It is often referred to as her first novel (presumably in part because The Little Mother Who Sits at Home was presented as non-fiction). “The Times Digital Archive 1785-2007”. Thompson Gale: The Times Digital Archive. 55957 (11 March 1964): 15 |
Publishing | Hélène Barcynska | Pseudonyms, and their financial implications, ended HB
's first marriage. Armiger Barclay
wanted her to write not as Sandys, under which name she reaped her own profits, but as Barcynska, which funnelled her earnings to... |
Publishing | Hélène Barcynska | By about now, says HB
, a serial by Oliver Sandys could command two hundred pounds for its first printing, and the book publisher would offer an advance of another two hundred. While she enjoyed... |
Publishing | Rumer Godden | RG
's peppery agent, Spencer Curtis Brown
, found it hard to take her second marriage and eventually had a fist-fight with James Haynes-Dixon
outside the Ritz Grill in London. After this they did... |
Publishing | Mary Renault | MR
's London agent, Spencer Curtis Brown
, transferred her for this book to a younger colleague, Juliet O'Hea
. O'Hea proved to be very sensitive and sympathetic to MR
, and eventually became her... |
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