Ashton, Rosemary. George Eliot: A Life. Hamish Hamilton.
179
Connections | Author name Sort descending | Excerpt |
---|---|---|
Literary responses | George Eliot | John Blackwood
was in general delighted with the manuscript of Amos Barton. Thackeray
, too, read it and was impressed. Blackwood
's few criticisms (particularly of the ending, which he found comparatively feeble) appalled... |
Literary responses | George Eliot | Again early criticism from John Blackwood
upset GE
. But Blackwood's response when she suggested ending her series of tales reassured her how much he valued them. Ashton, Rosemary. George Eliot: A Life. Hamish Hamilton. 179 |
Textual Production | George Eliot | GE
began writing Adam Bede in October 1857. She decided, this time, against serialization. Ashton, Rosemary. George Eliot: A Life. Hamish Hamilton. 187, 197 |
Publishing | George Eliot | GE
was already at work on her next novel when Adam Bede was published. For the first time, this novel set her at the centre of a kind of bidding war in the book trade.... |
Intertextuality and Influence | George Eliot | It was John Blackwood
who thought of the eventual title, after candidates including The Tullivers, St. Oggs on the Floss, Sister Maggie, and The House of Tulliver; or, Life on the Floss... |
Literary responses | George Eliot | On the whole reviewers were enthusiastic (E. S. Dallas
began his notice in the Times, George Eliot is as great as ever Carroll, David, editor. George Eliot: The Critical Heritage. Barnes and Noble. 131 |
Publishing | George Eliot | This departure from her usual publisher, Blackwood
, was precipitated by a princely offer from George Smith
of the Cornhill of £10,000 (the largest offer ever, although they eventually settled on £7,000 for copyright over... |
Reception | George Eliot | Many friends of GE
including Edith J. Simcox
, plus biographers such as Gordon S. Haight
, believed that readers had reason to be grateful to G. H. Lewes
for his tireless protection of GE |
Literary responses | George Eliot | John Blackwood
, though he published it, disliked this story as too negative. It apparently appealed to French artist H. É. Blanchon
, however, whose painting La transfusion du sang, based on the tale's... |
Publishing | George Eliot | She began work on it by 6 September 1864, but within a few months (in February 1865) she was so bogged down and anxious that Lewes confiscated her manuscript. She took it up again in... |
Publishing | George Eliot | George Henry Lewes
persuaded Blackwood
to undertake this unusual mode of publication, because Middlemarch was too long to fit the three-volume format which was by now the staple of the circulating library. They hoped to... |
Literary responses | George Eliot | Middlemarch's mode of publication meant that responses were coming in long before the book was complete, including formal reviews. R. H. Hutton
for instance, wrote no less than 6 reviews for the Spectator... |
Publishing | George Eliot | GE
adopted in writing to her publisher, John Blackwood
, her now famous pseudonym: before this Blackwood had written to her as author of, or even as Dear Amos. Eliot, George. The George Eliot Letters. Editor Haight, Gordon S., Yale University Press. 2: 290-2 |
Publishing | George Eliot | |
Textual Production | George Eliot | GE
published The Spanish Gypsy, a poem with some faint resemblance to a verse drama. To Blackwood
she wrote that it was not a Romance. It is—prepare your fortitude—a poem. Eliot, George. The George Eliot Letters. Editor Haight, Gordon S., Yale University Press. 4: 354 Hands, Timothy. A George Eliot Chronology. G. K. Hall. 106 |
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