Lefanu, Sarah. Rose Macaulay. Virago, 2003.
165, 338
Connections | Author name Sort descending | Excerpt |
---|---|---|
Textual Production | Rose Macaulay | RM
published another novel, Orphan Island, a tongue-in-cheek contribution to the exotic-adventure genre of The Coral IslandR. M. Ballantyne
and Treasure IslandRobert Louis Stevenson
. Lefanu, Sarah. Rose Macaulay. Virago, 2003. 165, 338 Macaulay, Rose. Letters to a Friend from Rose Macaulay 1950-1952. Editor Babington Smith, Constance, Fontana, 1968. 356 |
Education | Hilary Mantel | HM
later wrote of her earliest memory. Her early world, she said, was synaesthesic. Mantel, Hilary. “Giving up the Ghost: A Memoir”. London Review of Books, 2 Jan. 2003, pp. 8-13. 8 Mantel, Hilary. Giving up the Ghost. Fourth Estate, 2003. 23 |
Intertextuality and Influence | Candia McWilliam | Again this novel could hardly be more different from its predecessor. A quotation from Robert Louis Stevenson
's Songs of Travel heads it, about the salt-encrusted legacy of seafaring ancestors on the shores of Fife... |
Textual Production | L. T. Meade | She gave up her editorship only when other writing commitments and her growing children made it impossible to continue. During those six years she used to eat breakfast at half past seven, receive her first... |
Friends, Associates | George Meredith | GM
knew the poets Dante Gabriel Rossetti
and Algernon Swinburne
—he sometimes stayed with them while in London. He also knew Emma Caroline Wood
, Lucie Duff Gordon
, Leslie Stephen
, Anne Thackeray Ritchie |
Friends, Associates | Alice Meynell | On her trip to the United States, AM
met the Scottish writer Robert Louis Stevenson
, and the English philosopher Alfred North Whitehead
and his wife Evelyn Wade
. Meynell, Viola. Alice Meynell: A Memoir. J. Cape, 1947. 177, 187 |
Textual Production | Dervla Murphy | DM
's fourth travel book, In Ethiopia with a Mule, moves to a continent that is new for her (Africa instead of Asia) and is the first of her several travel books to feature... |
Friends, Associates | Elma Napier | EN
's aristocratic lineage brought her into contact with many notable government and royal figures. As a young girl, she often visited the fifteenth-century Château de Breteuil, not far from Paris, home of her... |
Textual Production | Elma Napier | The title is adapted from lines by travel-writer and novelist Robert Louis Stevenson
: For who would gravely set his face / To go to this or t'other place? / There's nothing under Heaven so... |
Literary responses | Elma Napier | Critic Elaine Campbell
reads EN
's collection of travel-stories as belonging to the tradition of Robert Louis Stevenson
and Alec Waugh
. Campbell, Elaine. “An Expatriate at Home: Dominica’s Elma Napier”. Kunapipi, Vol. 4 , No. 1, Dangaroo Press, 1982, pp. 82-93. 86 |
Literary responses | Margaret Oliphant | The work has been consistently admired. On its appearance the editor of The Spectator praised it for wonderful mastery of the borderland of the natural and the supernatural, qtd. in Greenfield, John R., editor. Dictionary of Literary Biography 159. Gale Research, 1996. 159: 256 |
Education | Jean Rhys | At a very young age, JR
imagined that God was a book. She was so slow to read that her parents were concerned, but then suddenly found herself able to read even the longer words... |
Literary responses | Anne Thackeray Ritchie | Trollope
admired her work alongside that of Rhoda Broughton
, though he thought her writing lazy. qtd. in Shankman, Lillian F., and Anne Thackeray Ritchie. “Biographical Commentary and Notes”. Anne Thackeray Ritchie: Journals and Letters, edited by Abigail Burnham Bloom et al., Ohio State University Press, 1994, p. various pages. 164 |
Friends, Associates | Anne Thackeray Ritchie | In London ATR
connected or re-connected with friends including Kipling
, Robert Louis Stevenson
, Sidney Lee
, Arnold Bennett
, and Rhoda Broughton
. Gérin, Winifred. Anne Thackeray Ritchie: A Biography. Oxford University Press, 1981. 260-1, 272 |
Literary responses | Anne Thackeray Ritchie | Robert Louis Stevenson
wrote admiringly to his old acquaintance: I never see why you lay one touch rather than another, I cannot see why your make your breaks, all your craft is magic and mystery... |
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