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Issue 4 December 2009

Inside:

KMS News and Competition Results Page 2

‘A Memory of Place’ by Riemke Ensing Pages 3-6

‘Celebrating Katherine Mansfield’ Symposium Report Pages 7-10

‘Enough to know— she’s there’ By Kathryn MacLean Pages 11-12

‘Katherine Mansfield, the Underworld and the Blooms Berries’ Page 13

‘Katherine Mansfield in Picton’ by Julie Kennedy Pages 14-16

New Board Member Page 17 Villa Isola Bella, Menton ‘Finding Katherine

Mansfield’ by Susannah Fullerton Photo courtesy of Mary Gaudin Pages 18-20 Please visit http://www.marygaudin.com to see more of Announcements Mary Gaudin’s photography Pages 21-22

Issue 4 December 2009 Page 2 KMS News

The Katherine Mansfield Society recently celebrated its first anniversary. What a year it has been, and there’s much more in the pipeline for 2010! The ‘Celebrating Katherine Mansfield’ Symposium in September was a wonderful success, bringing together scholars and enthusiasts from all over the world to reflect on Mansfield in the glorious Men- ton scenery. Those who couldn’t be there can read all about it on pages 7-12, and might like to con- sider making the trip to Melbourne in June 2010 for a symposium on the theme of ‘Katherine Mans- field, the Underworld and the Blooms Berries’. Check out the call for papers on page 13. You will by now have received your copy of the first issue of Katherine Mansfield Studies, which unites scholarly articles with visual arts and creative writing pieces. The Editors are already planning the 2010 edition on the theme of ‘Mansfield and Modernism’. Details are on page 21. 2010 will also see the inaugural Katherine Mansfield Society Essay Prize, on the theme of ‘Katherine Mansfield and D.H. Lawrence’ (see page 22). The last few months have seen a number of changes to the Board. Gerri Kimber has taken over the reins as Chair following Sarah Sandley’s move to the honorary position of Advisory Chair. Anna Jackson and Kate Kennedy have joined the Board in the roles of educational strategy and member- ship respectively. Tracey MacLeod has passed the role of Secretary over to Sarah Ailwood, and Gina Wisker has joined the Conference Committee. The Board is confident that this renewed team will see the KMS flourish in 2010 and beyond. As always, we are happy to receive your personal and professional contributions on KM for the Newsletter. We would love to hear some new voices in the Newsletter in 2010! Best wishes for the festive season, Sarah Ailwood and Jenny McDonnell Joint Editors of the Katherine Mansfield Society Newsletter Competition results

Thank you to everyone who entered the ‘Katherine Mansfield is better than Virginia Woolf’ competi- tion. The entries were so terrific that we couldn’t decide a winner, and drew a name from a hat in- stead. So the lucky recipient of Hilary Newman’s Virginia Woolf and Katherine Mansfield: A Crea- tive Rivalry is Penelope Jackson with her entry ‘Katherine Mansfield is better than Virginia Woolf because she left behind the very people and places of her stories, never to return, yet she gave so much to a nation bereft of a literary tradition in her time’. Here are the other excellent entries: ...she captured the essence of human experience in fewer words which she put into a new form that helped Virginia find her own voice. ~ Miroslawa Kubasiewicz ...unlike reading Woolf, it is consistently apparent that Mansfield actually lives within her characters, her writing crafted with an awareness always of the reader. ~ Margaret Arthur ...she’s a wild colonial girl! ~ Lorae Parry ...though they each illuminate the world for me, it’s Katherine who shines light upon the pathway for Virginia, rather than the other way around. ~ Jan Leavey ...although both women’s writing demonstrated a feminist consciousness and a modern sensibility, Mansfield first showed the possibilities of the symbolic, the imaginary and the real. ~ Glen Adams

Published by the Katherine Mansfield Society, Stroud, England

Issue 43 DecemberAugust 2009 2009 Page 3

A Memory of Place1 by Riemke Ensing

(a note from the past)

In 1984, New Zealand writer Helen Shaw journeyed to Menton in an attempt to capture something of the essence of Katherine Mansfield that might still linger round the ‘Villa Isola Bella’.

I have in front of me one of Helen Shaw’s distinctive and instantly recognizable letters. In a hurry of expectation to open it, I tore at the back of the light blue envelope and created the kind of damage the poet herself would have avoided by using a paper knife. The tear is a constant reminder of my immoderate haste and my regret at defacing this treasured corre- spondence, which still, twenty-five years later, bears the scent of Menton. The letter is undated but the contents and postmark (in a time when local mail cost 24 in- stead of the present-day 50 cents) suggest November 1984 and is by way of a ‘thank you’ note for a poem I wrote her,2 in response to her book Dear Lady Ginger: an exchange of let- ters between Lady Ottoline Morrell and D’Arcy Cresswell.3

Image reproduced courtesy of Topic

The letter is written on blue (slightly darker than the envelope) paper, in blue (a deeper tone still) ink. Enclosed, in waxed (blue) paper, is a sprig of pressed greenery (now turned brown with the years), still faintly scented although I remember the absolute strength of the aroma

Issue 4 December 2009 Page 4 when I first opened it and the delight of receiving this ‘scrap of foliage which I managed to plunder from outside the locked gate into the Villa Isola Bella at Menton. I mean, I reached up to take the memory of the place from a bush which grew inside the small garden’.4 Helen Shaw and her husband, photographer Frank Hofmann, had just returned to New Zea- land from a trip abroad, which had included a four-day stay at Menton. Here, on Thursday September 6 1984, at the age of 71, she had made the ‘fairly arduous one-hour-each-way’ pilgrimage from the Hotel Chambord up ‘the steeply climbed (Katherine Mansfield) memo- rial drive’ and recorded ‘some lovely smelling cypress – little low green shrubs with little green cones’.5 Cypress is what came in Helen’s letter to me and is no doubt the ‘foliage, scented, green’ of the poem ‘Today at the Villa Isola Bella’ she wrote in memory of her visit to Katherine Mansfield’s villa in Menton:

Today At The Villa Isola Bella 6

Your memorial drive steeply climbed round / up to the gate closed to a stranger against a villa of orange stone.

Open The windows are staring, over foliage, scented, green, at blue glass of sky into the afternoon at Menton.

Today No entry here, for this stranger I am, to the Villa Isola Bella. No strangers, here, the lizards slide in and out of sight / flashing belonging/ not outsiders in this garden.

Katherine, in the long shadows of your fame almost you might be writing here finding light in the shadowed room

a secret / ‘Oh, what was it…?’ / of a Buddha.

Out of this rough grass an aloe planted grows here? Image reproduced courtesy of Topic in thorny flesh of leaves? not that magical aloe in the moon’s light of Prelude.

Issue 4 December 2009 Page 5

Small garden of your personality, time shifts the emphasis today at the Villa Isola Bella. Your sowing was earlier.

Katherine, shadowy one aloe floats

flowers and occupies the air. Your aloe miraculous mystifies the glittering sea.

It is poignantly ironic, that in this poem, the gate to Katherine Mansfield’s ‘Villa Isola Bella’, is ‘closed to / this stranger’ the poet feels herself to be. Certainly the physicality of the place may have been new to her, but Helen Shaw was no stranger to Mansfield’s writ- ings. Although she categorically denied Mansfield’s influence on her own work as a short- story writer, proclaiming Chekhov instead as the mentor who ‘walked with me, guiding and teaching, as I stumblingly found my way’,7 there is no doubt that she was interested in and studied Mansfield’s style and technique. In an early essay, which focused on the mystical significance of ‘Prelude’, she notes that Mansfield’s stories are ‘cleared of irrelevancies, or- dered by craftsmanship and made to bloom intensely after the interval of time between the event and the creation’8 – a comment that might well apply to her own poem, here. Similarly Helen Shaw’s observation that Mansfield’s vision is elusive – ‘a lantern threading a dark landscape where light is used to point out an object and link it with a thought’9 – is sugges- tive in relation to her own poem where both the images of the lizards and the aloe create mo- ments of illumination. As in Mansfield’s stories, the juxtaposition of light and dark is central to the poem: ‘Almost you might be writing here / finding light in the shadowed room / a secret…’. The writing itself – the process of writing – is like finding the light. It enlightens, brings out the light, and clarifies what is being written about, but around Mansfield herself that sense of ambiguity and mystery – suggested by the shifting use of the words ‘shadow/shadowed/shadowy’ – re- mains as elusive as the aloe that ‘floats/ flowers and occupies the air.’ As with Mansfield in ‘Prelude’, Helen Shaw has found ‘a way to bring the very air’ into the poem. ‘And not only the air of a certain day, but around a certain person’.10 Reading the poem, the reader immediately receives a very definite and acute sense of the physical ‘air’ of ‘this afternoon at Menton’ where the sky is blue and clear as glass and the ‘glittering sea’ flashes, like the lizards ‘into and out of sight’ in the garden. The ‘air’ of place is captured by nuance. Physically, the Villa seems inviting with its ‘orange stone’, its ‘open windows’ and the scent of foliage obviously sufficiently strong to mention as part of the enticement. Emo- tionally and psychologically however, the exact opposite is experienced. The gate is closed. There is no entry. The visitor who has made the long and arduous journey from the other side of the world, is not welcome. Twice, within a few lines, the poet feels herself a ‘stranger’, while the sense of being an ‘outsider’ when the lizards (mere physical creatures) ‘belong’ heightens the irony.

Issue 4 December 2009 Page 6

But the gate to the Villa also seems closed ‘against’ the house itself, as if Mansfield too is shut out (‘Your sowing was earlier’). The presence of the lizards and the ‘rough grass’ sug- gest the ‘small garden’ might be neglected, and it is interesting that in her Notebook, Helen Shaw records the ‘garden’ in inverted commas as though questioning the very concept. ‘Time shifts’, and things are no longer as they were. Mansfield herself is now perhaps as ex- cluded and alienated from this house as the poet feels herself to be. Twice she is addressed in terms of ‘shadows’ and ‘shadowy’ perhaps making us think not only in terms of death (shade), but also of the ethereal and elusive. Only the ‘aloe’ remains to occupy ‘the air’, but unlike the New Zealand aloe in ‘Prelude’, this one too is ‘shadowy’ and mysterious. The idea that it ‘floats’ suggests the surreal or unlikely (‘an aloe planted grows here?’) and the possibility of the magic of ‘Prelude’ being recaptured here is firmly dismissed. Although the poet speculates for a moment that during this visit to Menton in 1984, Mans- field might ‘almost’ be writing here, ‘the streams of sensation and impressions’ Helen Shaw refers to in her Notebook, are firmly kept under control. Only the essentials – the telling ones – have been allowed to stay in this evocative poem where images of light and dark predomi- nate much as they do in Mansfield’s stories and in keeping with the mystical tradition of which Helen Shaw was so much a part.

ENDNOTES

1 An earlier version of this article was broadcast on Concert FM Radio New Zealand in the ‘Preferences’ series. It was then published in a slightly altered form in ‘The Poetry File’, Quote Unquote, (NZ) October 1995. I have since made some further minor changes.

2 Riemke Ensing, ‘Katherine Mansfield seen by Ottoline Morrell’, Landfall 151, 1984, p. 270.

3 Helen Shaw, ed., Dear Lady Ginger: an exchange of letters between Lady Ottoline Morrell and D’Arcy Cresswell (Auckland: Auckland University Press, in association with The Alexander Turnbull Library Endow- ment Trust, 1983).

4 The ‘scrap of foliage, scented, green, plundered from outside the locked gate into the Villa Isola Bella’ is re- produced here as a photographic image taken by my son James Ensing-Trussell of Topic. The same sprig was also reproduced as the cover to the reprint of Leda’s Daughter, poems by Helen Shaw (Auckland: Holloway Press, 1995). A photo of that cover is also appended to this article.

5 Notebook (unpublished).

6 Helen Shaw, ‘Today At the Villa Isola Bella’, in Time Told from a Tower (Christchurch: Nag’s Head Press, 1985). Regretfully Helen Shaw did not see this publication which appeared just days after her death in June. She would have appreciated this finely printed, limited edition produced from a quality press she had been as- sociated with earlier in her life.

7 Helen Shaw, ‘Some Theories and Aims’, in Pilgrims (new series) Summer 1980, pp 57-59.

8 Helen Shaw, ‘Katherine Mansfield’, in Meanjin (Australia) 47, Summer 1951, pp 376-382.

9 Ibid.

10 Ibid.

Issue 4 December 2009 Page 7

‘Celebrating Katherine Mansfield’

A Symposium organised by the Katherine Mansfield Society with the New Zealand Embassy and the Winn-Mason Mansfield Trust

Menton, France, 25 September 2009

This Symposium was the culmination of a week’s celebrations held in Menton from 21st to 26th September, marking the 40th anniversary of the Katherine Mansfield Memorial Fellow- ship, an award made annually to a New Zealand writer for a six months residence in Menton. The week’s events were an ‘entente cordiale’: a congenial coming together of French and New Zealand cultural interests, inspired by Mansfield’s eight-month stay in the Villa Isola Bella in Menton in 1920-21. They featured a magnificent exhibition of twelve chronological display panels of Mansfield in the Bibliothèque de Menton, seminars on Mansfield for the public, including university students from Avignon and Nice, and the judging of a short story competition (stories written by French and New Zealand children) by members of the France/New Zealand Association.

Social events were hosted by the Mairie de Menton, the New Zealand Embassy in Paris, the Association France Nouvelle-Zélande, and the current Menton Fellow Jenny Pattrick and her husband Laughton. Among those who attended the celebrations during the week were members of the Winn-Manson Menton Trust which is responsible for main- taining the Fellowship, and previous Fellow- ship holders such as C.K. Photo courtesy of Mary Gaudin Stead, Vincent O’Sullivan, Stu- art Hoar, and Fiona Farrell. Also drawn to Menton by the uniqueness of the occasion was a Katherine Mansfield descen- dant, Janine Renshaw-Beauchamp, granddaughter of Jeanne Beauchamp, Mansfield’s youngest sister, and Mansfield enthu- siasts such as Linda Lappin, author of the novel, Katherine’s Wish (2008), and Jackie Jones, editor of Edinburgh University Press which publishes the Society’s journal, Katherine Mans- field Studies. But from the Katherine Mansfield Society’s point of view, most vital was the presence of the New Zealand Am- bassador to France, Sarah Dennis and the cultural attaché, Photo courtesy of Gerri Kimber

Issue 4 December 2009 Page 8

Bridget Gee. They were wonderful hosts throughout the week, splendidly supported the Katherine Mansfield Society in organising the Symposium, and made a generous donation towards costs. Indeed, the Symposium was opened by Sarah Dennis with Richard Cathie, Chair of the Winn-Manson Menton Trust.

Unlike most conferences the Symposium held its conference dinner the night before its for- mal proceedings. This was held at the Restaurant Napoléon-Plage simultaneously with an- other dinner: that of the French/New Zealand Association and the Winn-Manson Menton Trustees; a vin d’honneur hosted by the New Zealand Ambassador to France got the eve-

Photos courtesy of Mary Gaudin ning off to a good start: the line-up of guests included some of the most distinguished in the Mansfield emporium, and the photos taken by Mary Gaudin, a New Zealand photographer currently living in Montpellier, amply record this glittering occasion which was boosted by the balmy Mediterranean temperatures, unusually high for late September, the seaside loca- tion with a sandy beach just inches away, and the delectable French cuisine.

The Symposium itself was held in the elegant and spacious Villa Maria Serena, nestled in the slopes above the town, with commanding views of the Riviera and surrounding hills. The villa provided just the right ambience, with two major meeting rooms making possible the parallel sessions of talks, while the large downstairs lounge with its welcome shady balcony, opened out to provide space for a magnificent cocktail reception at the end of the day.

From the start the Symposium evoked the spirit and imagination of Mansfield, and confirmed the renewal of enthusiasm for her work among critics and readers that first emerged at the Mansfield Centennial Confer- ence held at Birkbeck in September 2008, and which has taken wing through the efforts of the Katherine Mansfield Society, founded just a year ago. There were two memorable opening keynotes: New Zea- land-born, London-based writer Kirsty Gunn reflected

Photo courtesy of Mary Gaudin on her time in the Randell Residency in Wellington earlier this year, followed by a reading of her short story, ‘The Little House’, written during the residency: both were inspired by Gunn’s return to her home town, and the revival of associations with a place – Thorndon – which is linked to a writer who has become her muse. This was followed by Vincent O’Sullivan’s talk about

Issue 4 December 2009 Page 9

Mansfield’s time in Menton, the adjust- ments she made during that eight-month period to the stark facts of her mortality, her enchantment with the place, and deter- mination to face the future. His apt title, Mansfield’s comment about Menton – ‘My heart beats for it like it beats for Karori’ – and his quotations from letters and stories convinced us of the powerful nature of the connection between Mansfield and Men- ton, one as strong as that between Mans- field and her native Wellington.

Photo courtesy of Mary Gaudin Among the panel sessions which aroused the delegates’ enthusiasm was that shared by Wil- liam Direen and Jan Kemp Riemenschneider, both speaking on Mansfield and the Gurdjieff Institute, and the ‘visual’ session which featured Angela Smith on the influence of the Scot- tish artist, J.D. Ferguson, Melissa Reimer on Mansfield and Impressionism, and Janine Renshaw-Beauchamp who showed images from the family photo album. New insights for me came from a session where the different speakers (Anne Mounic, Delia da Sousa Correa and Alice Kelly) came together in considering the meaning of musi- cal notation and silence in Mansfield’s work; and another where Mansfield’s literary debts were considered: to Jane Austen and to Geoffrey Chaucer (Janka Kascakova and Jenny McDonnell). In the afternoon we heard about Mansfield and modernist maga- zines (Gerri Kimber), Mansfield as a cosmopolitan artist (Erika Baldt) and the dangers of relationships in Mansfield’s story ‘Poison’, set in the South of France (Gina Wisker). Chairing this session and then giving my own paper, meant I could not attend what looked like fascinating panels in the other room: readings of Mansfield’s work (by Kathryn Maclean and Linda Lappin) and Stuart Hoar’s discussion about making a feature film on Mansfield; and the session titled ‘Mansfield, Self and Oth- Photo courtesy of Mary Gaudin ers’ (Kate Kennedy, Laetitia Rech and Sue Reid).

The symposium fitted perfectly into the rise and fall of a single day and concluded dead on time at 5pm, so that the preparations for the evening’s cocktail reception could begin. It presented a fine balance between panel session, live drama, readings and keynotes. Lunch was followed by a vibrant entertainment by two Australian actors, Amelia McBride and Julie Fryman: a dramatisa- tion of adaptations from Mansfield’s stories in- terposed with readings from her letters and jour- nals. The day’s talks concluded, fittingly, with Photo courtesy of Mary Gaudin

Issue 4 December 2009 Page 10

the final keynote speaker, C. K. Stead. Stead reflected on how his ‘intermittent’ work on Mansfield over a period of forty years, which has crossed all the disciplinary boundaries from criticism, editing, to writing fiction and poetry, has led him to consider the nature of the fictional imagination in relation to scholarship and interpretation. In commenting on his engage- ment with New Zealand’s most famous literary icon, and in his readings from poems and his novel, Mansfield, he re- minded us of how Mansfield made art out of her life, forging imaginative truth out of ‘untruths’ as well as the facts of her existence.

The setting and the occasion can only be described as idyllic, but also as offering a cultural and visual bonus with the chance to visit the Villa Isola Bella during the course of the day, to take in the brilliant azure of sea and sky, the play of light and shade as the sun set, the eye-catching angles of the Photo courtesy of Mary Gaudin hills as seen from the balconies and gardens of the Villa Maria Serena; and finally to meet with old friends and make new ones over the dinners, tea breaks and receptions.

Photos courtesy of Mary Gaudin

For many of us at the Symposium there was a feeling of impetus, of being at the start of something new, and we anticipate that more such symposia – one day events in different lo- cations – will be organised in years to come. The undoubted success of the Symposium is a testimony to careful planning and organisation due to the coordinated efforts of key mem- bers of the KMS who travelled to Menton several days in advance to set things up. All thanks are due to Gerri, Sue and Delia, and of course to Sarah Dennis and Bridget Gee of the New Zealand Embassy, France for their magnificent support of the KMS.

Janet Wilson

Issue 4 December 2009 Page 11

Enough to know — she’s there by Kathryn MacLean

Just as Katherine knew she must return to England after her journey through the NZ bush when it became clear to her, I think, she was going to become a writer, perhaps each of us in coming to Menton for the conference also make our own unique journey to honour Kathe- rine. As distinguished scholar and Keynote speaker C.K Stead would describe in his presen- tation at Menton, “everything is a story,” & Katherine, gathering us about her as if we were attending a private garden party, makes our arrival here one grand story among the many we write for ourselves.

My story begins long before I reach the shores of France, or consider the possibility of ever writing about KM. It begins by finding something or someone when we least expect it. Par- ticipating in the conference at Menton provides another chapter to my otherwise fascinating and frustrating journey to capture KM’s voice so that I might give her the gift of telling her own story. The conference, like my experience so far with Kat Among the Tigers, would be- gin with a series of small blessings – knowledge from scholars and writers discussing KM & her work in ways I hadn’t thought of, but mostly by the delegates themselves – some, to bor- row a term from the infamous Canadian author, L.M. Montgomery, I would instantly feel a connection deeper than our interest in KM, some, I might dare call, “kindred spirits.” Would this too be KM’s doing?

For many of the delegates arriving from all over the world Menton would provide a dreamy setting for their story on the borders of the Rivera. Its breathtaking beauty & promise of warmth in September was a rare treat for this Canadian girl now experiencing the coldest prairie winter on record. Writing this, thinking of my journey through the winding streets of Menton and the hot little rooms of Villa Maria Serena, helps me sort through what I’d like to remember; it helps me shape my story.

When I first arrive in town, KM stares out at me from the conference poster at the library welcoming me, content that I’ve come at last to find her. I feel as if she might take my hand and make me a child of the sun with her as I watch it move across the sky like a clock’s hand tic tic tic sunrise/noon/sunset – falling upon the cramped old buildings of the town, leaning in over the water nudging me to swim out a little further, take a chance, urging me not to be afraid of the unknown. In the sea where I swim almost daily, the velvet water feels bound- less, weightless on my back drifting from the shore & its line of hotel & public beach, the waves toss me about in another time where K watches me very much alive under her um- brella. The longer I stay in the water, the longer she remains with me. Half in, half out of wa- ter, I return, although I don’t know it, to a place that feels oddly familiar. As novelist, Kirsty Gunn would explain during her session, what I was doing, is returning to a place that was once ‘home’ – that place that reaches out to us, pulls us in & holds us safely until we have gathered strength enough to continue our journey again. But was this my journey, or K’s? Wave after wave, drifting from her time to mine, K remains on the shore. How then, asks Vincent O’Sullivan, to face time in Menton?

Issue 4 December 2009 Page 12

It isn’t until Janine Renshaw-Beauchamp begins her informal talk I think this is the moment K will close the gap between us. As Janine recalls stories of her great Aunt Kathleen & her family, I float back to the sea – swimming through wave after wave of unexplained emo- tions. I have come to K as an author, but rationalizing doesn’t explain my out of body feeling as I lean forward in my chair straining so I might somehow get close enough to enter the pic- tures showing on the screen. Then the most obvious strikes me: K was a woman who lived and DIED & whatever is said, however strongly we feel, we can’t bring her back; how had I thought we could?

After lunch we are entertained by Amelia McBride & Julie Fryman who delight us all with their play, Something Childish but Very Natural. It’s lively & fun & exactly what I need to take my mind off the inevitable task I have promised myself when the conference concludes: to visit K’s grave & to say goodbye.

As we leave Paris for Fontainebleu-Avon I’m haunted by a conversation I have with Vincent O’Sullivan after my presentation about authenticity of voice & the need to borrow from liv- ing sources. Although I tell him I’ve made KM a character, I realize now this can’t be en- tirely true. Somewhere in the early chapters of my story K & I become friends. At her grave- stone I feel shaken, as if someone has punched me hard in the stomach. Out of respect for her I hold my tongue when I read the inscription on her stone: Katherine Mansfield/ Wife of John Middleton Murry. For everything I want to say, instead I clamp my lips tight. I won’t ruin this moment with post feminist rant or cause K more hurt. Placing a rose on her stone, I turn away aware of a warm wind blowing the hair across my face. Without looking, without seeing, I sense K stirring in her sleep just long enough for me to know, she’s there.

But it’s Jan Kemp Riemenschneider‘s discovery of Gurdjieff’s Hymn’s From a Great Tem- ple, a long sad piece K was listening to before her death at the Institute, that helps me when I return home fresh with grief for a woman who died almost eighty seven years ago. Each time I strike a chord on the piano, I think back to my journey to France, to the conference, & to KM to whom at last I can say, goodbye my friend & thank-you.

Kat Among the Tigers, from which Kathryn read at the Symposium, will be published by University of Alberta Press in 2010.

Photos courtesy of Mary Gaudin

Issue 4 December 2009 Page 13

Katherine Mansfield, the Underworld and the Blooms Berries

A SYMPOSIUM HOSTED BY WRITING AND LITERARY STUDIES, SCHOOL OF MEDIA AND COMMUNICATIONS RMIT UNIVERSITY, MELBOURNE, AUSTRALIA

4-5 JUNE 2010

Convenors: Dr Melinda Harvey (RMIT University) and Dr Sarah Ailwood (University of Canberra)

There has been a surge of critical interest in Katherine Mansfield – seen in the founding of the Katherine Mansfield Society, the publication of the new journal Katherine Mansfield Studies by Edinburgh University Press, and the recent conferences on Katherine Mansfield held at Birkbeck College, University of London in 2008 and Menton, France in 2009.

This symposium provides an opportunity for scholars in Australia and New Zealand to share in this renaissance in Melbourne, recently named the world’s second UNESCO City of Lit- erature.

We are interested in papers on all aspects of Katherine Mansfield’s life, work and times. More broadly, we are interested in papers that give consideration to her friends and associ- ates (dubbed the ‘underworld’ by Virginia Woolf) as well as her enemies and rivals (the ‘Blooms Berries’, Mansfield called them in a letter to Ottoline Morrell from 1917). We are also interested in papers that ponder her literary forbears and inheritors.

In short, papers that address Mansfield in relation to her contemporaries, predecessors and progeny are particularly welcome, but papers that shed any light on her milieu, methods, re- ception or place in literary canons and literary histories (Modernism, New Zealand literature, feminist literature, postcolonial literature, and so on) are also very welcome.

Abstracts of 300 words and a brief bio of 30 words should be submitted to Dr Sarah Ailwood ([email protected]) and Dr Melinda Harvey ([email protected]) by Monday 2 March 2010.

Issue 4 December 2009 Page 14

Katherine Mansfield in Picton by Julie Kennedy

Much has changed in Picton since Katherine Mansfield visited between 1889 and 1908, and even since I wrote Katherine Mansfield in Picton published in 2000. The book is now out of print, and it has been suggested by a local bookseller that I should consider the publication of a revised edition. If this happened, I think I would like to have on the cover the photograph (taken in France), of Mansfield sitting in a deckchair reading. This seems in keeping with the more relaxed lifestyle in Marlborough and the fact that the Beauchamp family came for holidays. In the meantime, there follow some more thoughts on new material that has recently come to light about the changes to the Picton that Katherine Mansfield knew.

***

The Marlborough Sounds landscape, the bush and the ‘umbrella ferns’ (ponga ferns), and the view down Picton Harbour from the foreshore with Mabel Island in the distance, have changed little but the old town wharf and the ‘landing-stage’ where Fenella and her grandmother arrived in ‘The Voyage’ are no longer there – ‘they could see the landing-stage and some little houses, pale too, clustered together, like shells on the lid of a box’. Now there are many more houses ‘clustered together’, especially those in recent subdivisions with wall-to-wall neighbours. The old wharf that Mansfield remembered was demolished and replaced in 1913 by Waitohi Wharf at the western end of the Picton Foreshore; a new railway station was opened in 1914 and the railway tracks which used to run from the wharf along the foreshore were lifted to create the Picton Foreshore; a Memorial Arch was built in 1925 to honour those from Picton and Queen Charlotte Sound who gave their lives in World War I; and the old post office, built in 1883 and a meeting place for many over the years, was demolished in 1991.

Postcard of Picton in the early 1900s. The Post Office is on the left and Oxley’s Hotel on the right. The street heading into the hills is Wellington Street, and the kiosk the venue for tea and scones mentioned by Leslie Beauchamp. Reproduced courtesy of Julie Kennedy.

The SS Penguin, the boat the Beauchamp family regularly travelled on to Picton, was wrecked in Cook Strait in 1909 with the loss of 75 lives. There is a Karori Cemetery heritage trail, and in 2009 a plaque was placed at the wreck site on the coastline near Wellington to commemorate the 100th anniversary of the disaster. I have often thought about what would have happened if Mansfield and her family had been on that voyage. By 1909, of

Issue 4 December 2009 Page 15 course, she was in England, never to return to New Zealand, but she would have been told about the tragic loss of life. She probably mused on this herself, especially since Leslie once wrote to her that he and two of his sis- ters took the 5pm sailing on the ‘fast and furious Penguin’ in September 1908.

The architecture of London Quay with its previous heritage aspect has been altered dramatically, and for many local residents the maritime village atmosphere has been lost forever like the ‘golden hour’ in Mansfield’s story. Since my book was published the three hotels that graced London Quay collectively for more than a cen- tury – Oxley’s, the Federal and the Terminus – have been replaced by apartments and retail complexes. During her visit to Picton, Fenella (and Mansfield too) would have noted Oxley’s Hotel, in particular the verandah and lacework (still in place today). The hotel was refurbished in 1902 and became a waterfront landmark, but now only the façade of Oxley’s remains. Mansfield’s brother, Leslie, was not enthusiastic about Oxley’s when he stayed there with Vera and Jeanne Beauchamp during a ten-day holiday visit to Nelson and Picton in Septem- ber 1908 on a visit to see their grandparents, Arthur and Mary Beauchamp, who lived in a house along Wai- kawa Road.

The journal Leslie kept during the trip in September 1908 was intended as a record to send to Mansfield after her recent return to England. He tells her about the ‘happy time we all three spent together’, while Vera and Jeanne (‘Jinks’) sketched; Charlotte (Chaddie) is not mentioned so maybe she went elsewhere or stayed at home in Wellington. I would like to have included excerpts from Leslie’s journal in Katherine Mansfield in Picton but I don’t think I knew about its existence at the time of writing. When I later read that a journal writ- ten by her siblings had been among personal items found in a trunk belonging to Mansfield, and had been ac- quired by the Alexander Turnbull Library, I went to Wellington to investigate. In the journal, Leslie records sitting on the Picton Foreshore (which he calls the ‘esplanade’) and eating mandarins; suggests that other visi- tors to the town would be better off bringing their own ‘bedding clothes’ as the hotel left a lot to be desired; and notes that Arthur Beauchamp was in bed when they first visited. One wonders if this could have provided Mansfield with the germ of the idea for ‘The Voyage’ years later?

The Beauchamp family used to holiday at Anakiwa as they had relations there, and as a child Harold Beauchamp regularly stayed at Anakiwa with his aunt and uncle Harriet and Cradock (Arthur’s brother) Beauchamp; and if one goes to Anakiwa (by following Queen Charlotte Drive or taking a commercial launch from Picton), where the Outward Bound School is now situated, it is still possible to walk part of the track that Mansfield and her family would have taken when they walked over to Kenepuru Sound as mentioned in her own writing.

***

My recent research has revealed interesting findings to do with The Marlborough Press (1860-1948). I was writing the text for a Picton Foreshore Heritage Walk brochure launched in October as part of Marlborough’s 150th anniversary celebrations when I came across it. The paper began in 1860 in Blenheim and the owners relocated the Press to Picton in 1861. Arthur Beauchamp (Mansfield’s grandfather) and John Godfrey (Janet Frame’s great-grandfather) were both board members. It seems astonishing to me that these two men should both have been together on the board of a Picton newspaper in the early 1860s and that their descendants should later come to be regarded as New Zealand’s greatest writers.

In addition, I have found a fascinating image on an early Picton postcard that I found in a second-hand shop (see previous page). It shows the old Picton town wharf in 1911. Of course, this was taken after Mansfield had left for England, but the picture is evocative of the times when the Beauchamp family were visiting and shows a sailing ship, the clothes of the period, a vintage car and the railway lines going on to the wharf as they once used to. I would also track down the photograph of Katherine Mansfield in a pram that I was shown years ago while doing my original research. It was apparently offered to the Katherine Mansfield Birthplace but the offer was not taken up. I had more success in tracing the photograph of Mansfield and her sisters on board a ship. It was one of the images that flashed on our television screens during the build up to the millennium. They were called “Millennium moments” and I eventually traced the image to the Queen’s University Archive in Canada which houses the Antony Alpers collection. One wonders why this collection is not in a New Zealand library. I would love to be able to peruse the images one day. Maybe in this digital age it will be possible.

***

Issue 4 December 2009 Page 16

Earlier this year my niece wrote to me asking for help with an assignment. Her teacher suggested the class re- write part of ‘The Voyage’ with a different ending and pointed out that clearly the child in the story, Fenella, had recently lost her mother. I started wondering about the story all over again. Perhaps by including a mother’s death as the reason for the boat trip, it was Mansfield’s way of grieving for her own mother who had passed away? I have also revised my previous thinking about the grandmother in ‘The Voyage’. At the time I wrote my book I was convinced that the character was based on Mansfield’s paternal grandmother because of the context of the story. I state this so assertively on page 1! However, I now have doubts. Mansfield’s maternal grandmother, Grannie Dyer, had taken the children to Picton at Easter 1889 and according to a letter from Mansfield to John Middleton Murry this was her ‘premier voyage age de six mois’. Who knows which grand- mother actually inspired the character in the story, if either? Katherine Mansfield says herself, ‘it wasn’t a memory of a real experience’.

For me, ‘The Voyage’ conjures up childhood memories of travelling on the interisland ferry from Wellington across Cook Strait to Picton and sometimes taking overnight trips to Lyttelton to visit my own grandparents in the South Island. In Mansfield’s time boats like the SS Penguin only sailed three times a week between Wel- lington, Nelson and Picton. My own memory is that for many years ferry sailings were often cancelled, beset by striking crew, especially at peak holiday periods. Now the Interislander ferries run 24 hours a day between Wellington and Picton and return, but Nelson is not included in the service. Sailings are only cancelled in con- ditions of extreme gales. Even now, though, given the vagaries of Cook Strait’s currents and weather patterns, the boat can still often ‘pitch a little’ as in the story. Mansfield remembered these conditions as she wrote the story in 1921 – she records that she felt ‘infernally cold’, and the experience of writing the story was ‘a kind of possession’ so intense that she could hear the sea: ‘The mist rose and fell and the sea sounded asleep as slowly it turned on the beach.’

***

One final thought. Currently the eastern end of the Picton Foreshore is being redeveloped with the addition of historical markers to tell more of Picton’s story. I am hoping that there will be a plaque (preferably a long nar- row one, symbolic of a wharf), to mark the site of the old Picton town wharf, a place where visitors can stand (noting the much improved road surface), and see where Fenella and her grandmother would have got into the cart with Mr Penreddy, before ‘moments later they were bowling away. The hooves of the little horse drummed on the wooden piles, then sank softly into the sandy road’.

Picton Harbour and Foreshore in 2009. Reproduced with permission of Jessie Creedmore. Other recent work by Julie Kennedy:

Chronology of Picton and Queen Charlotte Sound, 1250AD to 2009 (written on behalf of the Picton Historical Society and available from the Picton Museum as an ongoing updated in-house publication, currently 75 pages) ‘Picton Foreshore Heritage Walk brochure’, 2009 (funded by the Marlborough District Council as part of the 150th anniversary of Marlbor- ough separating from Nelson and becoming a province in 1859. Literary tour of Picton available on request with the author

Issue 4 December 2009 Page 17

Meet our new Board member

KATE KENNEDY MEMBERSHIP SECRETARY

Dr Kate Kennedy is primarily interested in combining music and literature, both as a per- former and an academic. She studied Music and English at Cambridge, and took masters courses at the Royal College of Music and in English at King’s College, London. She has recently completed a PhD at Clare Hall, Cambridge, on the First World War poet and com- poser Ivor Gurney, and is now writing a biography of Gurney with Professor Kelsey Thorn- ton for Oxford University Press. She has contributed chapters on early twentieth century mu- sic and literature to various journals, and Manchester University Press’ Cultural Resonances of the Armistice, due to be published in 2010. She has also edited collections of essays on Gurney for Chosen Press, guest edited a special edition of the Gurney Society Journal, and Birmingham University’s The Journal of First World War Studies. She will be writing a monograph on Gurney for Boydell and Brewer in 2010. She has published numerous pieces on Gurney, Benjamin Britten, Arthur Bliss and Housman in the Housman Society Journal and The Gurney Society Journal. Kate organises a two-day conference every two years at Cambridge on topics related to mu- sic and literature, attracting delegates from all over the world. She broadcasts regularly on Radio 3 and the BBC world service, on topics such as First World War music and literature, madness and music, and Hardy and Finzi song settings. She is currently making a pro- gramme on Indian Sepoys during the First World War.

Kate is also a professional cellist, and has a busy schedule giving pre-concert talks for or- chestras such as Southbank Sinfonia (which she co-founded), and the Britten Sinfonia in venues such as the Southbank Centre and the Wigmore Hall. She also gives lectures in festi- vals such as the Brighton International Festival, Lincoln Festival of Words and Music, and Ludlow Festival of English Song. She has recently been commissioned to write a libretto on an opera to be based on Florence Nightingale, for the Opera Studio and Southbank Sinfonia. She is an associate tutor for the Open University, and teaches in the English Faculty at Cam- bridge University.

Issue 4 December 2009 Page 18

‘Finding Katherine Mansfield’ by Susannah Fullerton

I have been a keen reader of Katherine Mansfield’s stories for much of my life. In recent years I have also been a very keen listener of audio books and CDs. When an offer came to combine these two passions, the opportunity was too good to resist.

Crimson Cats Audio Books is an innovative company which publishes quality audio books on CD. Their range includes books that are not available on audio anywhere else, books that have gone out of print and books which are often unknown. They also produce wonderful compilations on CD – Jane Austen’s juvenilia, a collection of stories, poems and anecdotes about cats, writings from nine- teenth-century lady gardeners, war diaries, and so on. When I met with Michael Bartlett, Editor of Crimson Cats, and we began to discuss the idea of some Katherine Mansfield on CD, I realised that exciting possibilities were ahead.

However, many of Mansfield’s stories have of course previously been recorded on audio. ‘The Doll’s House’, ‘The Daughters of the Late Colonel’, ‘The Garden Party’ and ‘Miss Brill’ are available on various CDs. If we merely produced readings of stories, Crimson Cats would not be doing anything new.

I am a New Zealander (who now lives in Sydney) and have worked for many years as a lecturer and public speaker, talking about famous writers. I have given talks on Mansfield’s life and works at the State Library of New South Wales, The Art Gallery of New South Wales, and at schools and librar- ies. I find that generally people are pretty ignorant about her fascinating life story. My audiences love to hear about what she did, her travels, her tragic search for a cure for her TB, while she coura- geously wrote on through it all. They love to listen to extracts from her work and to learn how these connect with what she was experiencing in her life. Why not, we thought, create a CD that told this story, that presented Katherine Mansfield, as both woman and writer, to the listener?

And so I went to seek out the real Katherine Mansfield behind those marvellous stories – to find her in her birthplace, now a museum, in Wellington; at Day’s Bay where she played as a child; in the schoolyard where the competition over who has seen the doll’s house is fought out; and then to Lon- don. Sometimes Katherine is hard to find. She has been described as ‘a shape-shifter’; she is elusive; she even looks like a different woman in each of her photos. Pinning her down was not easy. Some- times the Katherine I did find was hard to like. She did not always behave well; she could be destruc- tive of herself and others. I followed her to Europe, to the places where she futilely searched for bet- ter health, and finally to her grave at Fontainebleau. And from all this, I wrote a script which formed the basis of the CD.

Then it was time to record. I read much of the script, but Michael and I felt that while I should do my own narration and the selections from Mansfield’s stories, we needed a different actress to ‘be Kathe- rine’, reading from her letters and journals, providing a contrasting voice. New Zealand actress Kir- sty Hamilton took on this role and is a beautifully convincing Katherine.

After the script had been recorded, we had to think about the music. Crimson Cats does not use a lot of music in its CDs as they feel the story is the important thing, but music can separate the tracks and set the mood. Katherine was a cellist and she fell in love with a cellist, so cello music seemed most appropriate. We were fortunate enough to have some cello music specially composed for the CD by

Issue 4 December 2009 Page 19

Andrew Gower, a member of the Music Department at Canterbury Christ Church University.

And finally a cover had to be designed. Janine Renshaw-Beauchamp, a relative of Katherine’s, kindly allowed us to use the lovely ‘daisy’ photograph of Mansfield, and designer Nigel Rouse, who has designed all the Crimson Cats covers, has used this to great effect, setting it against the backdrop of an old postcard of Days Bay, Wellington.

And so, we finally have a CD. I loved my journey with Katherine Mansfield – I hope you will enjoy it too and will discover in Finding Katherine Mansfield that you experience a new or renewed pleas- ure in her works, get to know her better as a woman and delight all over again in the wonder of her words. Where do you find Katherine Mansfield?

The Editors invite members to tell us where you find Katherine Mansfield. Is it in her stories? Her letters? Her journals? In Wellington—London—France?

All contributions will be published in the March issue of the Newsletter. Contributors will be placed in a draw to win a copy of Susannah Fullerton’s CD ‘Finding Katherine Mansfield’. Please keep your entries to 50 words or less.

Review of Finding Katherine Mansfield

Finding Katherine Mansfield: Susannah Fullerton explores the writer’s life through her letters, journals and stories. Susannah Fullerton (Crimson Cats Audio Books, 2009) ISBN 978-0-9558752-4-3.

This wonderful CD should be sent as a Christmas present to any of your friends and family who want an introduc- tion to Katherine Mansfield. You should also consider buying it as a present for yourself. No mat- ter how much of a Mansfield devotee you are, you will find much to delight, entertain and move you in this superbly produced CD, written and narrated by author Susannah Fullerton, who happens also to be a KMS member. In just under an hour and twenty minutes you will be taken on a narra- tive journey, richly infused with diary, letter and short story extracts, from Mansfield’s birth in New Zealand to her untimely death in France. The sound of a haunting solo cello, the aptness of

Issue 4 December 2009 Page 20 which requires no explanation for any KMS member, starts and ends each of the eleven narrative sections, with music especially composed for this CD by Andrew Gower. Susannah’s gently lilting New Zealand accent guides us through Mansfield’s life and is also the voice narrating the short story extracts. Accomplished New Zealand actress Kirsty Hamilton reads the diary and letter extracts, thus creating a distinguishable Mansfield ‘voice’.

Susannah starts her journey on a walk through present day Wellington, where glimpses of the colo- nial city where Mansfield was born and raised can still be found. Extracts from the autobiographical childhood stories – ‘Prelude’, ‘The Doll’s House’, ‘The Garden Party’ – are brought to life as she crosses Wellington. On the soundtrack we hear ducks quacking in the river near to the childhood home where Pat once cut the head off a duck, to the terror and delight of Mansfield and her siblings. The Kelveys see the little lamp in the courtyard of the Karori house, and Laura tries to persuade her mother to cancel their garden party following the death of a local carter. I could almost smell the arum lillies and the newly mown grass of that Wellington summer a century ago.

In London and continental Europe, Susannah shows us the destructive youthful Mansfield, who liked to shock and was so eager to experience ‘life’. Later diary and letter extracts reveal a young woman desperate, above all, to write. The consequence of her brother Leslie’s death, the catalyst for so many of Mansfield’s New Zealand stories, is examined via an extract from that most complex of stories, ‘The Fly’. As the narrative moves from Bavaria to France, on to Switzerland and back to France and an early death from tuberculosis, Middleton Murry, Ida Baker and others come briefly into focus, as Mansfield’s search for a cure becomes ever more poignant. No matter how familiar the extracts are, they still have the power to move the listener, such as the following diary extract, written on Mans- field’s birthday, 14 October 1922 – less than three months later she would be dead:

My spirit is nearly dead. My spring of life is so starved that it’s just not dry. Nearly all my improved health is pretence – acting. What does it amount to? Can I walk? Only creep. Can I do anything with my hands or body? Nothing at all. I am an absolutely hopeless invalid. What is my life? It is the existence of a parasite. And five years have passed now, and I am in straighter bonds than ever.

I can’t think of anyone, young or old, KM devotee or newcomer, who wouldn’t enjoy this CD.

Gerri Kimber

Finding Katherine Mansfield (Ref. CC015) can be ordered in different currencies from the following:

Crimson Cats Audio Books Susannah Fullerton www.crimsoncats.co.uk 26 Macdonald St, The Red Cottage, The Street, Paddington, NSW 2021 Starston, Harleston, Norfolk Australia IP20 9NN UK Ph. +61 (02) 9380 5894 Ph. +44 (0) 1379 854 888 [email protected] Cost UK£9.99, plus post and packing Cost A$25.00 plus A$2.00 P & P within (UK: £1.75, Europe £2.75, Outside Australia. (Payment via cheque or Europe £4.00) money order, made payable to Payment via Paypal or UK sterling cheque S.Fullerton)

Issue 43 DecemberAugust 2009 2009 Page 1821

Katherine Mansfield Studies

CALL FOR SUBMISSIONS FOR VOLUME 2 on the theme of ‘Katherine Mansfield and Modernism’

Mansfield was both a colonial and a metropolitan writer and the editors welcome submis- sions that explore both the European and non-European contexts for her formative role in literary Modernism. Mansfield’s important relationship with Virginia Woolf has already re- ceived critical attention, and articles that investigate this connection further will be received with interest. This issue will also encourage an emphasis on Mansfield’s as yet under- explored relationship with D.H. Lawrence. We will publish the winning entry in the Kathe- rine Mansfield Society’s inaugural essay prize for a critical essay on Katherine Mansfield and D. H. Lawrence (see page 22).

Through her critical writings as well as her brilliant innovations in fiction, [Katherine Mansfield] in- fluenced, reflected and conveyed modernist aesthetic principles. Mansfield belongs with Virginia Woolf at the very core of British modernism. In terms of her influence on the development of modern- ist fiction, Mansfield’s transformative effect has been as decisive as that of any modernist writer of prose. As Ian Gordon once remarked: ‘She had the same kind of directive influence on the art of the short story as Joyce had on the novel. After Joyce and Katherine Mansfield neither the novel nor the short story can ever be quite the same again’. In 1934, T.S. Eliot selected Mansfield’s ‘Bliss’ as an illustration of the dominant experimental tendency of contemporary fiction. Her innovations in the short-fiction genre (especially the ‘plotless story’, the incorporation of the ‘stream of consciousness’ into the content of fiction, and the emphasis on the psychological ‘moment’) preceded Virginia Woolf’s use of them, and they have been absorbed and assimilated – often unconsciously – by writers and readers of the short story. Extracted from: Sydney Janet Kaplan, Katherine Mansfield and the Origins of Modernist Fiction (Ithica: Cornell University Press, 1991), pp. 1-3.

The following is a list of topics that may provide inspiration, though the list is by no means exhaustive: Mansfield and the Short Story, Mansfield and International Modernism, Mans- field and Virginia Woolf, James Joyce, T.S. Eliot, D.H. Lawrence, Mansfield and Modernist Feminism, Mansfield and Modernist Aesthetics, Mansfield as Modernist Muse, Mansfield and Postmodernism. Articles — Submissions of between 5000–7000 words (inclusive of endnotes), should be emailed in Word format to the Editor, Dr Delia da Sousa Correa: [email protected] AND the Liaison Edi- tor, Dr Gerri Kimber: [email protected]. Please also send a 50 word bio-sketch, a brief ab- stract (200 words) summarising your article and 5 or 6 keywords. Creative Writing — Pieces of creative writing on the theme of Katherine Mansfield – poetry, short stories, etc, should be sent to the editors above, accompanied by a 50 word bio-sketch. Book Reviews — Book reviews of 500-600 words for single books and 900-1200 words for two or more books should be sent to the Reviews Editors, Dr Kathryn Simpson: [email protected] AND Dr Melinda Harvey: [email protected], accompanied by a 50 word bio-sketch.

The deadline for submissions is 16 March 2010. A style guide is available on the KMS website.

Issue 4 December 2009 Page 22

KATHERINE MANSFIELD SOCIETY ESSAY PRIZE 2010

The Katherine Mansfield Society is pleased to announce its first annual prize essay competition, which for 2010 will be on the subject of:

KATHERINE MANSFIELD AND D.H. LAWRENCE

Submissions, in English, of 5,000 words should address any aspect of the literary relationship be- tween Mansfield and Lawrence and consist of original, previously unpublished research.

The winner will receive a cash prize of £300 and the winning essay will be considered for publication in Katherine Mans- field Studies (the peer-reviewed journal of the Katherine Mansfield Society).

Highly commended essays will also be considered for publication in either Katherine Mansfield Studies or Journal of D.H. Lawrence Studies.

The internationally renowned panel of judges will comprise:

Emeritus Professor C. K. Stead, ONZ, CBE, FRSL (Vice President, Katherine Mansfield Society)

Dr Andrew Harrison (Editor, Journal of D. H. Lawrence Studies)

Dr Susan Reid (Chair, Katherine Mansfield Society Essay Prize Committee)

Essays should be submitted by email attachment to Susan Reid [email protected] by 1 May 2010

Further details, including style guidelines, are available on:

www.katherinemansfieldsociety.org