Circulating Genius John Middleton Murry, Katherine Mansfield and D. H. Lawrence
Produktdetaljer
Om bidragsyterne
Sydney Janet Kaplan is Professor of English at the University of Washington. She is the author of Katherine Mansfield and the Origins of Modernist Fiction (Cornell University Press, 1991) and Feminine Consciousness in the Modern British Novel (University of Illinois Press, 1975).A significant contribution to modernist studies, Professor Kaplan's timely investigation of the Mansfield-Murry-Lawrence triangle illuminates their previously under-researched creative relationships. Her ability to convey the humour and drama of her subject and her fine scholarship are equally engaging. -- Delia da Sousa Correa, Editor, Katherine Mansfield Studies We may have thought that pretty much everything had been garnered about that tangled triangle of D.H. Lawrence, Katherine Mansfield, and Middleton Murry. Not so. After Kaplan, one is looking freshly, more deeply, at how these extraordinary personalities circled and feinted, landed their punches and reconciled. Most surprisingly, she makes her case for restoring Murry to his rightful place in that trio, free from the condescension that has obscured him for generations. Mansfield and Lawrence too emerge in an engagingly new light. What Kaplan does is to present a key moment in British Modernism as a vivid, living, personal exchange. This is good storytelling, as much as fine scholarship. -- Vincent O'Sullivan, Victoria University, Wellington, co-editor 'The Collected Letters of Katherine Mansfield' A significant contribution to modernist studies, Professor Kaplan's timely investigation of the Mansfield-Murry-Lawrence triangle illuminates their previously under-researched creative relationships. Her ability to convey the humour and drama of her subject and her fine scholarship are equally engaging. We may have thought that pretty much everything had been garnered about that tangled triangle of D.H. Lawrence, Katherine Mansfield, and Middleton Murry. Not so. After Kaplan, one is looking freshly, more deeply, at how these extraordinary personalities circled and feinted, landed their punches and reconciled. Most surprisingly, she makes her case for restoring Murry to his rightful place in that trio, free from the condescension that has obscured him for generations. Mansfield and Lawrence too emerge in an engagingly new light. What Kaplan does is to present a key moment in British Modernism as a vivid, living, personal exchange. This is good storytelling, as much as fine scholarship.