Briggs, Julia. A Woman of Passion: The Life of E. Nesbit, 1858-1924. Hutchinson.
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Connections | Author name Sort ascending | Excerpt |
---|---|---|
Textual Features | E. Nesbit | EN
's and Barron's collaborative stories reflect his antiquarian interests in what biographer Julia Briggs
calls general gadzookery. Briggs, Julia. A Woman of Passion: The Life of E. Nesbit, 1858-1924. Hutchinson. 182 |
Literary responses | Hope Mirrlees | Julia Briggs
reads the text as a roman à clef in which Scudéry
is an unflattering portrait of Natalie Barney
(whom HM
would have encountered when herself living in Paris) while Harrison
appears as the... |
Reception | Hope Mirrlees | Reckoning by numbers of reprints issued, Lud-in-the-Mist is HM
's most popular and enduring work. It was frequently re-issued between 1927 and 2000—especially, as Julia Briggs
notes, since 1970, and the vogue for J. R. R. Tolkien |
Anthologization | Hope Mirrlees | Virginia Woolf
hand-set the edition. The colophon uses the sign of the constellation Ursa Major (as did those of HM
's three novels). Briggs, Julia. “The Wives of Herr Bear”. London Review of Books, pp. 24-5. 25 |
Literary responses | Hope Mirrlees | Paris was received by an appreciative audience. Before its publication Virginia Woolf
described it as very obscure, indecent, and brilliant. Woolf, Virginia. The Letters of Virginia Woolf. Editors Nicolson, Nigel and Joanne Trautmann, Hogarth Press. 2: 385 |
Literary responses | Hope Mirrlees | Growing interest in HM
was reflected in Julia Briggs
's discussion about her contributions to modernist literary culture in her Reading Virginia Woolf, 2006. Recognition of the significance of the author's work has grown... |
Textual Production | Hope Mirrlees | The volume brings many unpublished poems to light, and its editorial apparatus includes comment written by Julia Briggs
before her death. Parmar is at work on a full scholarly biography. |
Textual Production | Vernon Lee | By this date, according to Julia Briggs
, she had already fallen under the influence of Nathaniel Hawthorne
's The Marble Faun, 1860, (an influence she shared with Henry James
). Briggs, Julia. Night Visitors. Faber. 113, 119 |
Intertextuality and Influence | Jane Ellen Harrison | JEH
's work exerted a palpable influence on the Modernist movement in literature, and both her persona and her life's work were represented, sometimes in much modified form, in many creative texts. Critic Julia Briggs |
Literary responses | Elizabeth Bowen | Julia Briggs
considered that another story in this collection never really closes the gap between its fearful vision and its humdrum setting. Briggs, Julia. Night Visitors. Faber. 180 |
Literary responses | Elizabeth Bowen | For Julia Briggs
this story was the masterpiece of the volume into which it was later collected. Briggs, Julia. Night Visitors. Faber. 181 |
Literary responses | Elizabeth Bowen | Bowen described these stories as flying particles of something enormous and inchoate. Kenney, Edwin J. Elizabeth Bowen. Bucknell University Press. 67 |
Textual Production | Lady Cynthia Asquith | LCA
(whom critic Julia Briggs
calls both a patron and practitioner of the ghost-story) published her first collection of this genre, entitled The Ghost Book: Sixteen New Stories of the Uncanny. Charques, Richard Denis. “Ghosts & Drolls”. Times Literary Supplement, No. 1295, p. 836. 836 Briggs, Julia. Night Visitors. Faber. 44 |
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