Katherine Mansfield Studies – serie

The last collection of short stories published in her lifetime, The Garden Party and Other Stories would solidify Katherine Mansfield's place as the most prominent modernist short story writer of her generation. Early reviewers of the collection commented on the similarities it shared with her previous collection, Bliss and Other Stories; however, while contemporary reviews were mixed, many emphasised the psychological power of her stories, praising how she was able to bring her characters to life in a way simple action could not. While it contains some of Mansfield's most sophisticated and well-loved stories, several of the stories in The Garden Party initially appeared in the Sphere, and thus were often dismissed as inferior. Mansfield herself felt some of these stories fell short of her desired effect, though recent scholarship has revealed their greater complexity. The essays in this volume, by both seasoned and newer Mansfield scholars, work to continue this conversation. The collection also includes Mansfield-inspired short fiction, two translations of memorial poems dedicated to Mansfield by Chinese and French contemporaries with accompanying notes, and a recently re-discovered book review by Mansfield. In addition, Sydney Janet Kaplan provides a reflection on her personal meeting with Christopher Isherwood, a writer heavily influenced by the life and work of Mansfield

New scholarship on Katherine Mansfield's The Garden Party and Other Stories together with creative work inspired by MansfieldThe last collection of short stories published in her lifetime, The Garden Party and Other Stories would solidify Katherine Mansfield's place as the most prominent modernist short story writer of her generation. Early reviewers of the collection commented on the similarities it shared with her previous collection, Bliss and Other Stories; however, while contemporary reviews were mixed, many emphasised the psychological power of her stories, praising how she was able to bring her characters to life in a way simple action could not. While it contains some of Mansfield's most sophisticated and well-loved stories, several of the stories in The Garden Party initially appeared in the Sphere, and thus were often dismissed as inferior. Mansfield herself felt some of these stories fell short of her desired effect, though recent scholarship has revealed their greater complexity. The essays in this volume, by both seasoned and newer Mansfield scholars, work to continue this conversation. The collection also includes Mansfield-inspired short fiction, two translations of memorial poems dedicated to Mansfield by Chinese and French contemporaries with accompanying notes, and a recently re-discovered book review by Mansfield. In addition, Sydney Janet Kaplan provides a reflection on her personal meeting with Christopher Isherwood, a writer heavily influenced by the life and work of Mansfield.

During Katherine Mansfield's life she experienced the effects of abortion, miscarriage, gonorrhoea, peritonitis, rheumatism and tuberculosis, and would take up a peripatetic existence constantly in search of more favourable climates. The First World War of 1914 1918 and the influenza pandemic of 1918 20 informed the zeitgeist of her times. This volume of essays explores the extent to which this resonant context of disease and death shaped Mansfield's literary output and her modes of thinking. Illness both stimulated and limited Mansfield's creativity she would write to fund her medical care while simultaneously limited by her poor health, writing in 1922: 'The real point is I shall have to make as much money as I can on my next book my path is so dotted with doctors'. As explored in this volume, her personal writings document the increasing influence of tubercular literary predecessors such as Anton Chekhov and John Keats, while her stories function compellingly as dialogue with loved ones who have been lost her brother, her mother, her grandmother endowing them with life in the process.

During Katherine Mansfield's life she experienced the effects of abortion, miscarriage, gonorrhoea, peritonitis, rheumatism and tuberculosis, and would take up a peripatetic existence constantly in search of more favourable climates. The First World War of 1914 1918 and the influenza pandemic of 1918 20 informed the zeitgeist of her times. This volume of essays explores the extent to which this resonant context of disease and death shaped Mansfield's literary output and her modes of thinking. Illness both stimulated and limited Mansfield's creativity she would write to fund her medical care while simultaneously limited by her poor health, writing in 1922: 'The real point is I shall have to make as much money as I can on my next book my path is so dotted with doctors'. As explored in this volume, her personal writings document the increasing influence of tubercular literary predecessors such as Anton Chekhov and John Keats, while her stories function compellingly as dialogue with loved ones who have been lost her brother, her mother, her grandmother endowing them with life in the process.

Katherine Mansfield's complicated relationship with London began in 1903, when her parents sent her and her two older sisters from New Zealand to Queen's College in Harley Street to be educated, and where they remained until the summer of 1906. As soon as she was back in Wellington, she longed to return, her parents finally agreeing to her returning to London to forge a career as a writer, no longer 'Kathleen Beauchamp' but 'Katherine Mansfield'. As an adult, Mansfield had a love/hate relationship with London, but it remained central to her literary career. Mansfield became part of a literary couple with John Middleton Murry, and together they forged connections with most of the important writers in London at that time, thanks to their editorship of several little magazines and their own published work. As the symptoms of Mansfield's tuberculosis increased, and she spent more and more time away from England, seeking a healthier climate, life in London became a series of brief sojourns. It remained, however, at the heart of her literary life until her early death.This book combines a range of cutting-edge scholarship on themes including Mansfield's school life, telephony, the weather, literary sources and influences, music, and hotels, also including reviews of relevant publications in the field, a diverse range of creative writing, and the first publication of notes by Mansfield's early friend and contemporary in London, Margaret Wishart.

Katherine Mansfield's complicated relationship with London began in 1903, when her parents sent her and her two older sisters from New Zealand to Queen's College in Harley Street to be educated, and where they remained until the summer of 1906. As soon as she was back in Wellington, she longed to return, her parents finally agreeing to her returning to London to forge a career as a writer, no longer 'Kathleen Beauchamp' but 'Katherine Mansfield'. As an adult, Mansfield had a love/hate relationship with London, but it remained central to her literary career. Mansfield became part of a literary couple with John Middleton Murry, and together they forged connections with most of the important writers in London at that time, thanks to their editorship of several little magazines and their own published work. As the symptoms of Mansfield's tuberculosis increased, and she spent more and more time away from England, seeking a healthier climate, life in London became a series of brief sojourns. It remained, however, at the heart of her literary life until her early death.This book combines a range of cutting-edge scholarship on themes including Mansfield's school life, telephony, the weather, literary sources and influences, music, and hotels, also including reviews of relevant publications in the field, a diverse range of creative writing, and the first publication of notes by Mansfield's early friend and contemporary in London, Margaret Wishart.

Katherine Mansfield's astute eye for power imbalances, including those that are gendered, is apparent across her fiction. Her working life was also fraught with the types of material needs set out by Virginia Woolf in A Room of One's Own, published after Mansfield's death in 1929. Although the young Mansfield decided she 'could not be a suffragette' (in a letter of 17 September 1908 to Garnet Trowell), her work often addresses social injustices with portrayals of characters who are hemmed in by circumstance and reaching toward a sense of personal freedom and authenticity. This volume comprises a number of essays by Mansfield specialists on the theme of 'Katherine Mansfield's Women', in addition to a diverse range of creative writing and a reassessment of J. D. Fergusson's enigmatic portrait of a woman, titled Poise. By looking at the place of women in both her personal writings and fiction, it explores the textual and cultural aspects of Katherine Mansfield and the female experience in all its contexts.

Katherine Mansfield’s astute eye for power imbalances, including those that are gendered, is apparent across her fiction. Her working life was also fraught with the types of material needs set out by Virginia Woolf in A Room of One’s Own, published after Mansfield’s death in 1929. Although the young Mansfield decided she ‘could not be a suffragette’ (in a letter of 17 September 1908 to Garnet Trowell), her work often addresses social injustices with portrayals of characters who are hemmed in by circumstance and reaching toward a sense of personal freedom and authenticity. This volume comprises a number of essays by Mansfield specialists on the theme of ‘Katherine Mansfield’s Women’, in addition to a diverse range of creative writing and a reassessment of J. D. Fergusson’s enigmatic portrait of a woman, titled Poise. By looking at the place of women in both her personal writings and fiction, it explores the textual and cultural aspects of Katherine Mansfield and the female experience in all its contexts.

Katherine Mansfield's astute eye for power imbalances, including those that are gendered, is apparent across her fiction. Her working life was also fraught with the types of material needs set out by Virginia Woolf in A Room of One's Own, published after Mansfield's death in 1929. Although the young Mansfield decided she 'could not be a suffragette' (in a letter of 17 September 1908 to Garnet Trowell), her work often addresses social injustices with portrayals of characters who are hemmed in by circumstance and reaching toward a sense of personal freedom and authenticity. This volume comprises a number of essays by Mansfield specialists on the theme of 'Katherine Mansfield's Women', in addition to a diverse range of creative writing and a reassessment of J. D. Fergusson's enigmatic portrait of a woman, titled Poise. By looking at the place of women in both her personal writings and fiction, it explores the textual and cultural aspects of Katherine Mansfield and the female experience in all its contexts.

Katherine Mansfield's astute eye for power imbalances, including those that are gendered, is apparent across her fiction. Her working life was also fraught with the types of material needs set out by Virginia Woolf in A Room of One's Own, published after Mansfield's death in 1929. Although the young Mansfield decided she 'could not be a suffragette' (in a letter of 17 September 1908 to Garnet Trowell), her work often addresses social injustices with portrayals of characters who are hemmed in by circumstance and reaching toward a sense of personal freedom and authenticity. This volume comprises a number of essays by Mansfield specialists on the theme of 'Katherine Mansfield's Women', in addition to a diverse range of creative writing and a reassessment of J. D. Fergusson's enigmatic portrait of a woman, titled Poise. By looking at the place of women in both her personal writings and fiction, it explores the textual and cultural aspects of Katherine Mansfield and the female experience in all its contexts.

Comprising cutting-edge essays by Mansfield specialists, a diverse range of creative writing, and a review essay, this volume explores how Katherine Mansfield forged an identity as a woman and a writer in relation to the men in her life. Following on from the last volume of Katherine Mansfield Studies, with its exploration of Mansfield’s relationships with and depictions of women, Katherine Mansfield’s Men examines her experiences with male mentors, contemporaries and family members, and, in terms of her fiction, continues to unpack the gendered power imbalances that Gerri Kimber identified in her introduction to Katherine Mansfield’s Women.

Comprising cutting-edge essays by Mansfield specialists, a diverse range of creative writing, and a review essay, this volume explores how Katherine Mansfield forged an identity as a woman and a writer in relation to the men in her life. Following on from the last volume of Katherine Mansfield Studies, with its exploration of Mansfield’s relationships with and depictions of women, Katherine Mansfield’s Men examines her experiences with male mentors, contemporaries and family members, and, in terms of her fiction, continues to unpack the gendered power imbalances that Gerri Kimber identified in her introduction to Katherine Mansfield’s Women.

Comprising cutting-edge essays by Mansfield specialists, a diverse range of creative writing, and a review essay, this volume explores how Katherine Mansfield forged an identity as a woman and a writer in relation to the men in her life. Following on from the last volume of Katherine Mansfield Studies, with its exploration of Mansfield’s relationships with and depictions of women, Katherine Mansfield’s Men examines her experiences with male mentors, contemporaries and family members, and, in terms of her fiction, continues to unpack the gendered power imbalances that Gerri Kimber identified in her introduction to Katherine Mansfield’s Women.

This volume enables students and scholars to appreciate Mansfield’s central place in various trans-European networks of modernism working in or through translation and translated idioms. Katherine Mansfield had a lifelong interest in literatures in translation and in literary translating. From her early notebooks until letters written just before her death, she records the joy of learning foreign languages and exploring literatures outside the mainstream Anglophone tradition, often using transformative, inter-lingual games of her own as a source of creativity. Meanwhile, her enduring popularity abroad is ensured by translations of her works, all of which reveal sociological and even ideological agendas of their own.

Explores the multiple ways in which Mansfield’s fiction resonates with the landscapes opened up by psychology and psychoanalysisIn line with the recent surge of critical interest in early psychology, the contributors read Mansfield’s work alongside figures like William James and Henri Bergson, opening up new perspectives on affect in her work.  While these essays trace strands within the intellectual milieu in which Mansfield came of age, others explore the intricate interplay between Mansfield’s fiction and Freudian theory, seeing her work as emblematic of the uncanny doubling of modernist literature and psychoanalysis.Key FeaturesNew readings of Mansfield’s work alongside figures like William James, Théodule Ribot and Henri BergsonNew perspectives on the representation of affect and emotion in Mansfield's fictionThe essays open up novel ways of thinking about fiction of unrivalled psychological complexityMansfield’s work is shown to be emblematic of the uncanny doubling of modernist literature and psychoanalysis

New essays and creative explorations of the friendship, milieu and writings of Katherine Mansfield and Virginia Woolf'I love to think of you, Virginia, as my friend … pray consider how rare it is to find someone with the same passion for writing, who desires to be scrupulously truthful – and to give you the freedom of the city without any reserves at all.'Katherine Mansfield’s ardent overture to Virginia Woolf launched a historic friendship of mutual admiration and fascination shot through with wary misunderstandings, rivalry and envy. These comparative essays explore the shared terrain of these modernist women writers and shed new light on their 'curious & thrilling' literary relationship – absorbing, intimate, distant, secretly critical, competitive, sometimes foundering in ‘quicksands’ – and its profound impact on their creative imaginations.

New essays and creative explorations of the friendship, milieu and writings of Katherine Mansfield and Virginia Woolf'I love to think of you, Virginia, as my friend … pray consider how rare it is to find someone with the same passion for writing, who desires to be scrupulously truthful – and to give you the freedom of the city without any reserves at all.'Katherine Mansfield’s ardent overture to Virginia Woolf launched a historic friendship of mutual admiration and fascination shot through with wary misunderstandings, rivalry and envy. These comparative essays explore the shared terrain of these modernist women writers and shed new light on their 'curious & thrilling' literary relationship – absorbing, intimate, distant, secretly critical, competitive, sometimes foundering in ‘quicksands’ – and its profound impact on their creative imaginations.

Explores the literary connection between Katherine Mansfield and Elizabeth von ArnimElizabeth von Arnim is best remembered as the author of Elizabeth and Her German Garden (1898) and The Enchanted April (1922), as well as being the elder cousin of Katherine Mansfield. Recently, new research into the complex relationship between these writers has extended our understanding of the familial, personal and literary connections between these unlikely friends. We know that they were an influential presence on one another and reviewed each other's work.By bringing the work of Mansfield and von Arnim together – including on matters of artistry, on mourning, on gardens, on female resistance – this book establishes shared preoccupations in ways that refine and extend our knowledge of writing in the period. It also deepens our understanding of the historical and literary contexts within which both of these extraordinary authors worked.

Explores the literary connection between Katherine Mansfield and Elizabeth von Arnim Elizabeth von Arnim is best remembered as the author of Elizabeth and Her German Garden (1898) and The Enchanted April (1922), as well as being the elder cousin of Katherine Mansfield. Recently, new research into the complex relationship between these writers has extended our understanding of the familial, personal and literary connections between these unlikely friends. We know that they were an influential presence on one another and reviewed each other's work. By bringing the work of Mansfield and von Arnim together including on matters of artistry, on mourning, on gardens, on female resistance this book establishes shared preoccupations in ways that refine and extend our knowledge of writing in the period. It also deepens our understanding of the historical and literary contexts within which both of these extraordinary authors worked.

Celebrates the centennial of Katherine Mansfield’s BlissThis book celebrates the centennial of Bliss’s publication by offering new readings of some of Mansfield’s most well-known stories, revealing not only the depth and innovation of her work but also the extent to which she was instrumental in revisioning the potential of the short story form. It includes the publication of a newly discovered short story potentially by Mansfield, with an explanatory essay. It also presents a selection of new poetry and a new short story by acclaimed New Zealand author Paula Morris, all inspired by Mansfield.

This book celebrates the centennial of Bliss's publication by offering new readings of some of Mansfield's most well-known stories, revealing not only the depth and innovation of her work but also the extent to which she was instrumental in revisioning the potential of the short story form. It includes the publication of a newly discovered short story potentially by Mansfield, with an explanatory essay. It also presents a selection of new poetry and a new short story by acclaimed New Zealand author Paula Morris, all inspired by Mansfield.

What Virginia Woolf called 'Childlikeness' is a facet of Mansfield's personality which permeates every aspect of her personal and creative life. It is present in her mature fiction, where some of her most well-known and accomplished stories, such as 'Prelude' and 'At the Bay', have children as protagonists. It is present in her early poetry, which includes a collection of poems for children intended for publication and it is also present in her juvenilia, where many of the stories she wrote from an early age for school magazines and other publications, feature children. Even as an adult, Mansfield's love of the miniature, her delight in children in general, her fascination with dolls, all feature in her personal writing. Her relationship with John Middleton Murry was characterised by their mutual descriptions of themselves as little children fighting against a corrupt world. Including a newly discovered short story potentially by Mansfield, with an explanatory essay, this volume engages each of these aspects of the child in Mansfield's work and life.