Ann Heilmann is Professor of English literature at Cardiff University.Mark Llewellyn is Director of Research at the Arts and Humanities Research Council.

The work of George Moore (1852-1933) has received revived attention in recent years, and there have been many reconsiderations of the importance of Moore’s diverse body of work. Heilmann and Llewellyn have previously played a part in this revival, having coedited The Collected Short Stories of George Moore (5v, 2007). The essays in the present volume reconsider Moore's collaborations with and impact on his literary and artistic contemporaries. Part 1, 'Influence,' offers new readings of his various interactions with writers and artists in France, Ireland, and Wales and England, locating Moore at the center of important cultural encounters and debates. Essays explore his art criticism, his literary self-fashioning, his interest in music, and his understanding of gossip as a form of art. Three chapters consider his various depictions of women and their relationship to similar figures in new woman fiction. In part 2, 'Collaboration,' the editors examine Moore's partnerships with other authors, especially Pearl Craigie, and provide annotated transcripts of two coauthored plays. This collection will help to raise awareness of Moore’s largely unrecognized contributions to the cultural movements of the fin de siècle. Summing Up: Recommended. Upper-division undergraduates and above.

• ContentsAcknowledgmentsContributorsIntroduction Ann Heilmann and Mark LlewellynPart One: Influence Chapter 1: The Fin de Siècle Meets French Realism: Moore, Balzac and the Peculiarity of Writers Adrian FrazierChapter 2: “A Visit to an Impressionist Exhibition” in Moore’s Confessions of a Young Man Anna Gruetzner RobinsChapter 3: Reading the Notes, Knowing the ScoreMary S. PierceChapter 4: “Literature at Nurse”: George Moore, Ouida and Fin-de-Siècle Literary CensorshipJane JordanChapter 5: “The sort of girl I’d like to see behind the bar at the King’s Head”: Barmaids and Censorship in George MooreKatherine MullinChapter 6: Alice Barton: A Portrait of the Artist as a Young (New) Woman? Ann Heilmann and María Elena Jaime de PablosChapter 7: “Not fitted for marriage”: “Mildred Lawson” and the New Woman Nathalie Saudo-WelbyChapter 8: Gossip, Art and the Public Secret: Moore on his Contemporaries Elizabeth GrubgeldChapter 9: Readers, Writers and Friends: George Moore and John EglintonMichel BrunetChapter 10: Celtic Cousins? George Moore’s The Untilled Field and Caradoc Evans’s My PeopleKirsti BohataChapter 11: Moore, Wagnerism, and the Shape of the Later Career Stoddard MartinPart Two: CollaborationCo-authorship, Desire and Conflict: Introduction to the Moore/Craigie Collaboration Ann HeilmannThe Fool’s Hour: A play by John Oliver Hobbes [Pearl Craigie] and George Mooreedited byAnn HeilmannJourneys End in Lovers Meeting: Manuscript by George Moore edited and introduced by Mark Llewellyn

Ann Heilmann is Professor of English literature at Cardiff University.Mark Llewellyn is Director of Research at the Arts and Humanities Research Council.

The work of George Moore (1852-1933) has received revived attention in recent years, and there have been many reconsiderations of the importance of Moore’s diverse body of work. Heilmann and Llewellyn have previously played a part in this revival, having coedited The Collected Short Stories of George Moore (5v, 2007). The essays in the present volume reconsider Moore's collaborations with and impact on his literary and artistic contemporaries. Part 1, 'Influence,' offers new readings of his various interactions with writers and artists in France, Ireland, and Wales and England, locating Moore at the center of important cultural encounters and debates. Essays explore his art criticism, his literary self-fashioning, his interest in music, and his understanding of gossip as a form of art. Three chapters consider his various depictions of women and their relationship to similar figures in new woman fiction. In part 2, 'Collaboration,' the editors examine Moore's partnerships with other authors, especially Pearl Craigie, and provide annotated transcripts of two coauthored plays. This collection will help to raise awareness of Moore’s largely unrecognized contributions to the cultural movements of the fin de siècle. Summing Up: Recommended. Upper-division undergraduates and above.

• ContentsAcknowledgmentsContributorsIntroduction Ann Heilmann and Mark LlewellynPart One: Influence Chapter 1: The Fin de Siècle Meets French Realism: Moore, Balzac and the Peculiarity of Writers Adrian FrazierChapter 2: “A Visit to an Impressionist Exhibition” in Moore’s Confessions of a Young Man Anna Gruetzner RobinsChapter 3: Reading the Notes, Knowing the ScoreMary S. PierceChapter 4: “Literature at Nurse”: George Moore, Ouida and Fin-de-Siècle Literary CensorshipJane JordanChapter 5: “The sort of girl I’d like to see behind the bar at the King’s Head”: Barmaids and Censorship in George MooreKatherine MullinChapter 6: Alice Barton: A Portrait of the Artist as a Young (New) Woman? Ann Heilmann and María Elena Jaime de PablosChapter 7: “Not fitted for marriage”: “Mildred Lawson” and the New Woman Nathalie Saudo-WelbyChapter 8: Gossip, Art and the Public Secret: Moore on his Contemporaries Elizabeth GrubgeldChapter 9: Readers, Writers and Friends: George Moore and John EglintonMichel BrunetChapter 10: Celtic Cousins? George Moore’s The Untilled Field and Caradoc Evans’s My PeopleKirsti BohataChapter 11: Moore, Wagnerism, and the Shape of the Later Career Stoddard MartinPart Two: CollaborationCo-authorship, Desire and Conflict: Introduction to the Moore/Craigie Collaboration Ann HeilmannThe Fool’s Hour: A play by John Oliver Hobbes [Pearl Craigie] and George Mooreedited byAnn HeilmannJourneys End in Lovers Meeting: Manuscript by George Moore edited and introduced by Mark Llewellyn

Ann Heilmann is Professor of English literature at Cardiff University.Mark Llewellyn is Director of Research at the Arts and Humanities Research Council.

The work of George Moore (1852-1933) has received revived attention in recent years, and there have been many reconsiderations of the importance of Moore’s diverse body of work. Heilmann and Llewellyn have previously played a part in this revival, having coedited The Collected Short Stories of George Moore (5v, 2007). The essays in the present volume reconsider Moore's collaborations with and impact on his literary and artistic contemporaries. Part 1, 'Influence,' offers new readings of his various interactions with writers and artists in France, Ireland, and Wales and England, locating Moore at the center of important cultural encounters and debates. Essays explore his art criticism, his literary self-fashioning, his interest in music, and his understanding of gossip as a form of art. Three chapters consider his various depictions of women and their relationship to similar figures in new woman fiction. In part 2, 'Collaboration,' the editors examine Moore's partnerships with other authors, especially Pearl Craigie, and provide annotated transcripts of two coauthored plays. This collection will help to raise awareness of Moore’s largely unrecognized contributions to the cultural movements of the fin de siècle. Summing Up: Recommended. Upper-division undergraduates and above.

• ContentsAcknowledgmentsContributorsIntroduction Ann Heilmann and Mark LlewellynPart One: Influence Chapter 1: The Fin de Siècle Meets French Realism: Moore, Balzac and the Peculiarity of Writers Adrian FrazierChapter 2: “A Visit to an Impressionist Exhibition” in Moore’s Confessions of a Young Man Anna Gruetzner RobinsChapter 3: Reading the Notes, Knowing the ScoreMary S. PierceChapter 4: “Literature at Nurse”: George Moore, Ouida and Fin-de-Siècle Literary CensorshipJane JordanChapter 5: “The sort of girl I’d like to see behind the bar at the King’s Head”: Barmaids and Censorship in George MooreKatherine MullinChapter 6: Alice Barton: A Portrait of the Artist as a Young (New) Woman? Ann Heilmann and María Elena Jaime de PablosChapter 7: “Not fitted for marriage”: “Mildred Lawson” and the New Woman Nathalie Saudo-WelbyChapter 8: Gossip, Art and the Public Secret: Moore on his Contemporaries Elizabeth GrubgeldChapter 9: Readers, Writers and Friends: George Moore and John EglintonMichel BrunetChapter 10: Celtic Cousins? George Moore’s The Untilled Field and Caradoc Evans’s My PeopleKirsti BohataChapter 11: Moore, Wagnerism, and the Shape of the Later Career Stoddard MartinPart Two: CollaborationCo-authorship, Desire and Conflict: Introduction to the Moore/Craigie Collaboration Ann HeilmannThe Fool’s Hour: A play by John Oliver Hobbes [Pearl Craigie] and George Mooreedited byAnn HeilmannJourneys End in Lovers Meeting: Manuscript by George Moore edited and introduced by Mark Llewellyn