The resurgence of interest in Katherine Mansfield (1888-1923) in recent years has grown to the extent that she is now perceived as 'the most emblematic woman writer of her time'. The Edinburgh edition of her stories is a truly complete collection of the author's fiction writing.
Explores Katherine Mansfield's engagement in the periodical culture of the early twentieth century This book considers Mansfield's ambivalent position as a colonial woman writer by examining her contributions to the political weekly The New Age, the avant-garde little magazine Rhythm and the literary journal The Athenaeum. Contextualising Mansfield's work against the editorial strategies and professional cultures of each periodical, the book deepens and complicates older critical assumptions about the trajectory of Mansfield's development as a writer. Key FeaturesProvides the first sustained scholarly examination of Mansfield's engagement with and relation to early twentieth-century periodical cultureForegrounds the original material contexts in which Mansfield produced the majority of her work, emphasising a dialogic or 'conversational' model for modernismInterrogates Mansfield's ambivalent self-positioning within English literary circles as a 'colonial-metropolitan modernist' and 'outsider'Integrates ideas of the recent 'transnational turn' across literary studies into the field of periodical scholarship
This volume addresses issues raised by Katherine Mansfield's nomadic rootlessness as an 'extraterritorial' writer. Contributions draw on postcolonial and diasporic frameworks to examine Mansfield's insights into colony and empire.
The New Zealand-born writer Katherine Mansfield associated intimately with many members of the Bloomsbury group, but her literary aesthetics placed her at a distance from the artistic works of the group. With chapters written by leading international scholars, Katherine Mansfield and the Bloomsbury Group explores this conflicted relationship. Bringing together biographical and critical studies, the book examines Mansfield's relationships – personal and literary – with such major Modernist figures as Virginia Woolf, T.S. Eliot, Aldous Huxley and Walter de la Mare as well as the ways in which her work engaged with and reacted against Bloomsbury. In this way the book reveals the true extent of Mansfield's wider influence on 20th-century modernist writing.
What in terms of Alice Munro’s creative artistry and creative power allowed her to become the first and only short story writer, the first and only Canadian, and just the thirteenth woman in history to win the Nobel Prize in Literature? And exactly when during Munro’s career did her artistry and power advance to ensure that she would earn such world-wide renown? The answers lie in studying the boldly innovative yet greatly under-examined group of her four mid-career breakthrough books. Our volume therefore provides a carefully orchestrated analysis of Munro’s subtle yet potent handling of form, technique and style both within individual stories and across these special collections. Reading Alice Munro’s Breakthrough Books: A Suite in Four Voices not only addresses a significant vacancy in Munro criticism – and, by extension, in all short story criticism – but, equally importantly, offers an exciting new model for how criticism can be collectively written.
Edward W. Said is considered one of the most influential literary and postcolonial theorists in the world. Affirming Said's multifaceted and enormous critical impact, this collection features essays that highlight the significance of Said's work for contemporary spatial criticism, comparative literary studies, and the humanities in general.
This collection allows the reader to become familiar with the complete range of Mansfield's work from the early, satirical stories set in Bavaria, through the luminous recollections of her childhood in New Zealand, and through the mature, deeply felt stories of her last years.