The Collected Short Stories of Katherine Mansfield (Wordsworth Classics)

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Undiscovered Country: The New Zealand Stories of Katherine Mansfield, edited by Ian Gordon (London: Longman, 1974). Mansfield had two elder sisters, a younger sister and a younger brother. [4] [3] [5] In 1893, for health reasons, the Beauchamp family moved from Thorndon to the country suburb of Karori, where Mansfield spent the happiest years of her childhood. She used some of those memories as an inspiration for the short story " Prelude". [2] a b Taonga, New Zealand Ministry for Culture and Heritage Te Manatu. "Mansfield, Katherine". teara.govt.nz . Retrieved 17 October 2021. The text is written in the modernist mode, without a set structure, and with many shifts in the narrative. Mansfield was seen as one of the prime innovators of the short story form.

The old people sat on the bench, still as statues. Never mind, there was always the crowd to watch. To and fro, in front of the flower-beds and the band rotunda, the couples and groups paraded, stopped to talk, to greet, to buy a handful of flowers from the old beggar who had his tray fixed to the railings. a b c d e f g "Mansfield: Her Writing". Katharinemansfield.com. Archived from the original on 14 October 2008 . Retrieved 12 October 2008. There were tangerines and apples stained with strawberry pink. Some yellow pears, smooth as silk, some white grapes covered with a silver bloom and a big cluster of purple ones.Mansfield wrote short stories and poetry under a variation of her own name, Katherine Mansfield, which explored anxiety, sexuality and existentialism alongside a developing New Zealand identity. When she was 19, she left New Zealand and settled in England, where she became a friend of D. H. Lawrence, Virginia Woolf, Lady Ottoline Morrell and others in the orbit of the Bloomsbury Group. Mansfield was diagnosed with pulmonary tuberculosis in 1917, and she died in France aged 34. Mr. Sheridan: Mrs. Sheridan's husband and father of Laura, Laurie, Meg, and Jose. On the day of the party, he goes to work, but joins the party later that evening.

The Journal of Katherine Mansfield, "Definitive Edition," edited by Murry (London: Constable, 1954).

A new life in Europe

Katherine Mansfield was, until recently, regarded as very much a minor figure in the development of modernism. But the growth of feminist literary criticism in the 1970s, particularly the work of Hélène Cixous and others in France , has led to a reappraisal of Mansfield’s work, and in particular her short stories.

Katherine Mansfield's Letters to John Middleton Murry, 1913-1922, edited by Murry (London: Constable / New York: Knopf, 1951). In the various lonely hotel rooms on the Continent where she stayed in pursuit of a good climate for her lungs during her last years, Mansfield would lie awake in the night and call on Chekhov, her fellow tubercular and tutelary deity, not that long dead himself in 1904 at the age of 44. She loved and revered his work, and is indeed credited with importing his so-called plotlessness to the short story form in English. In her journal in 1918 she wrote: “Ach, Tchehov! Why are you dead? Why can’t I talk to you, in a big darkish room, at late evening – where the light is green from the waving trees outside. I’d like to write a series of Heavens: that would be one.”May, Charles E., ed. Masterplots II: Short Story Series, Revised Edition. 8 vols. Pasadena, Calif.: Salem Press, 2004. Mansfield with Monsters (Steam Press, 2012) Katherine Mansfield with Matt Cowens and Debbie Cowens [46]