Julia Briggs

From early in her marriage EN began writing seriously for periodicals, for the sake of the income she could bring in. She submitted work in prose and poetry to the radical Weekly Dispatch, The...

The first reviews of Mrs. Dalloway came out in the same month as those of The Common Reader (first series). Both the Western Mail and the Scotsman dismissed the novel as beyond the general reader...

Critic Louise DeSalvo calls A Sketch of the Pastthe bravest writing task that she had ever set out to accomplish.VW is, she says, a pioneer in exploring the effects of her abuse...

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

EN writes more of female sexuality in this novel than anywhere else, using images of imprisonment to express her sense of what it meant to be a woman in a world dominated by men.

EN 's and Barron's collaborative stories reflect his antiquarian interests in what biographer Julia Briggs calls general gadzookery. Derogatory as this term is, Briggs credits Barron with teaching EN that sense of the...

In a family living without its father (who is in fact in prison, accused of selling state secrets to Russia), Bobby, the eldest girl, is forced to act as second parent to the other children...

The guardian of two young cousins blows their inheritance and absconds leaving them nothing but a house and five hundred pounds. Fresh from school, the two girls respond differently: Lucilla is anxious but Jane Quested...

The idea for VW 's fourth novel, Julia Briggs observes, goes back to a plan she had thought of twenty years earlier, for a play about a man and a woman—show them growing up—never meeting—not...

Biographer Julia Briggs believes that the original story was stimulated by EN 's writing about her own schooldays for the Girls' Own Paper. The composite book of tales appeared in instalments in The Windsor...

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 ).

The volume brings many unpublished poems to light, and its editorial apparatus includes comment written by Julia Briggs before her death.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.

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.