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Notes I have followed C. K. Stead and Anthony Alpers in accepting the Journal of Katherine .Hansfield ( 1954) as an important and generally accurate source of biographical information. A study of Katherine Mansfield's original notebooks in the Alexander Turnbull Library (A. T. L.) does show that theJournal is a compilation, that Murry omitted some material, misread some words and possibly misdated some entries. Given the difficulty of the material he had to work with, however, I do not think that Murry was an irresponsible editor. Whatever the minor inaccuracies in his transcription and arrangement of the private notes Katherine Mansfield left, the fact remains that the published extracts do throw valuable light on her inner life. In the absence of a revised, definitiveJourna/, it would be ill-judged not to use the material that is at present available. :\1rs. :\1argart't Scott has gt>nerously shared with me her transcrip­ tions of some of the material omitted from theJoumal. \\'hen quoting, therefore, I have sometimes corrected thC' publishedJouma/; otht>r extracts I have cited as unpublished. An effort has bet'n ·made to minimise the number of reference figures in the text. Because of the frequent quotations fi·om Katherine Mansfield's stories, Journal entries and Letlentojohn .tfiddleton .Hur~}', individual page numbers have not been cited. As far as possible, the source of the quotation and approximate date are implied in the text. \\'here specific reference is not made to the Journal, phrasrs such as 'Katherine :\1ansfield admitted privately' indicate that the source is the Journal. Similarly, references to her 'telling Murry', or 'writing to :VIurry'. indicate that the source is her Letters to John .\fiddle/on :\1ur~y. A similar method has been used with quotations from Murry and Ida Baker. U nlrss otherwise indicated, all quotations attributed to Murry are from Between Tu•o ll'orlds; lela Baker's comments, and Katherine Mansfield's letters to her, are from The .\!emories of L. .\!. "'OTES TO THE PREFACE I. Conrad Aiken, 'The Short Story as Confession', Nation and Athenaeum, 14 July, 1923, p. 490. 2. Katherine Mansfield, Novels and Novelists, ed.J. M. Murry (London, 1930) p. 236. 3. Virginia Woolf, The Dia~y of Virginia Woolf, ed. Anne Olivier Bell (London, 1977) pp. 22~7. 4. The Journal of Katherine .\1an.ifield (London, 1954) p. 205 (hereafter cited as Joumal). 258 Notes 259 NOTES TO CHAPTER O~E: CHILDHOOD FA:-iTASIES I. 'Two Little Girls', in 'Extracts from a Notebook', Adelphi, 1931, p. 288. 2. Letter from Tom Mills in the Morris Collection, Alexander Turnbull Library (hereafter cited as A. T. L.). 3. Margaret Woodhouse (nee Wishart), 'Notes re K. M.' in A. T. L. 4. Journal, p. 102. 5. Ibid, p. 43. 6. MS. papers 119, A. T. L. 7. Ibid. 8. Queen's College Magazine, XXII (Mar 1904) 129-31. 9. MS. papers 119, A. T. L. NOTES TO CHAPTER TWO: THE PAINS OF ADOLESCENCE I. All letters quoted from Katherine Mansfield to Sylvia Payne are in MS. papers 119 at the A. T. L. 2. Ibid. 3. R. E. Mantz and J. M. Murry, The Life of Katherine Mansfield (London, 1933) p. 198. 4. MS. papers 119, A. T. L. 5. Ibid. Fragmentary juvenilia hereafter cited are in MS. papers 119 at the A. T. L. unless otherwise identified. NOTE TO CHAPTER THREE: •JULIET' I. Turnbull Library Record, Ill, no. I (Mar 1970) 4-28. NOTES TO CHAPTER FOUR: FORBIDDEN LOVE I. MS. papers 119, A. T. L.; quoted in Philip Waldron, 'Katherine Mansfield's Journal', Twentieth Century Literature ( 1974) p. 13. 2. Turnbull Library Record, Ill, no. 3 (Nov 1970) 133--6. NOTES TO CHAPTER FIVE: THE CONSOLATION OF ART I. 'Vignette', Native Companion, Oct 1907. 2. Marie Bashkirtseff, The Journal of a Young Artist, 1860-1884, trs. Mary ]. Serrano (New York, 1899). 3. Turnbull Library Record, IV, no. I (May 1971) 10-11. 4. Typescript in Morris Collection, A. T. L. 5. MS. papers 119, A. T. L. 6. Ibid. 7. Quoted in Anthony Alpers, Katherine Mansfield: A Biography (New York, 1954) p. 84. 8. 'Vignettes' and 'Silhouettes' were published in Native Companion in October and November 1907 respectively. They are reprinted in Jean E. Stone, Katherine Mansfield: Publications in Australia, 1907-4)9 (Sydney, 1977). 9. Native Companion, Dec 1907. 260 Notes NOTES TO CHAPTER SIX: EMOTION VERSUS WILL I. 'Katherine Mansfield: How Kathleen Beauchamp Came into her Own', New Zealand Railways Magazine, Sep 1933, pp. 6-7. See also Mantz and Murry, Life, pp. 269-71. 2. Typescript in MS. papers 119, A. T. L. (Published in the Wellington Evening Post, 13Jan 1909.) NOTES TO CHAPTER SEVEN: LONDON AND A DUAL EXISTENCE I. Katherine Mansfield: The Memories of L. M. (London, 1971) p. 54. 2. Turnbull Library Record, IV, no. I (May 1972) 19-25. NOTES TO CHAPTER NINE: LONELINESS AND ITS DANGERS I. William Orton, The Last Romantic (New York, 1937). Katherine Mansfield's references to her life with Orton, quoted by Murry in the Journal, are taken from The Last Romantic. 2. See The Urewera Notebook of Katherine Mansfield, ed. I. A. Gordon (New York, 1978). NOTES TO CHAPTER TEN: MURRY AND THE THEME OF CHILDHOOD I. 'A Biographical Note on Katherine Mansfield' (1948), copy in A. T. L. 2. 'Mary', uncollected story published in the Idler, Mar 1910. NOTE TO CHAPTER ELEVEN: REALITY VERSUS DREAM I. 'The House', uncollected story published in Hearth and Home, Nov 1912. NOTES TO CHAPTER TWELVE: ROLE-PLAYING I. Ruth Herrick in 'They Were at School Together', New Zealand Listener, 25 Sep 1942. 2. 'A Biographical Note on Katherine Mansfield'. 3. The Scrapbook of Katherine Mansfield, ed. J. M. Murry (London, 1937) pp. 28-37. 4. Letter of Katherine Mansfield to Koteliansky in British Museum. NOTES TO CHAPTER THIRTEEN: DEATH OF LITTLE BROTHER I. Letter from Margaret Woodhouse to G. N. Morris in Morris Collection, A.T.L. 2. Letter from Frieda Lawrence to Sylvia Berkman, Nov 1939. Copy in Morris Collection, A. T. L. 3. 'The Wind Blows' and 'The Apple Tree' were published in Signature, Oct 1915. 4. Copy in MS. papers 119, A. T. L. 5. Journal, p. 95. NOTES TO CHAPTER FOURTEEN: 'PRELUDE' I. In October 1917 Katherine described to Dorothy Brett the feeling of Notes 261 'identification' with a duck which Kezia experiences in 'Prelude': 'When I write about ducks I swear that I am a white duck .... In fact this whole process of becoming the duck (what Lawrence would, perhaps, call this "consummation with the duck or apple") is so thrilling that I can hardly breathe, only to think about it. For although that is as far as most people can get, it is really only the "prelude". There fi>llows the moment when you are more duck, more apple or more Natasha than any of these objects could ever possibly be, and so you create anew.' 2. Beryl and Juliet both gaze at themselves in the mirror. Beryl sees her face as 'wide at the brows', her eyes 'a strange uncommon colour- greeny blue with little gold points in them'. Her mouth is 'rather large .... Her under- lip protruded a little.' She has a mass of'lovely, lovely hair ... brown and red, with a glint ofyellow'.Juliet's features are similar: 'Her hair ... fell in long straight masses of pale gold to her waist. Her forehead was high and square while there was an unusual fullness over her brows. Her eyes were a peculiar colour, almost approaching green .... Her mouth was full of sensitive curves- the underlip decidedly too full for regular beauty.' Moreover, both Beryl and Juliet are described as having distinctively beautiful hands. NOTES TO CHAPTER FIFTEEN: GARSINGTON AS FICTIO"i I. Vera Brittain, Radc(yffe Hall: A Case of Obsceni~v (London, I Y68) p. 9.1. 2. Parts of Katherine Mansfield's letters to Ottoline Morrell were published in The Letters of Katherine Jfansfield, ed. J. M. Murry (London, 1928). All the letters to Ottoline Morrell quoted here are held at the Humanities Research Centre, University of Texas at Austin, Texas. 3. Murry's unpublished letters to Ottoline :'vlorrell are held at the Humanities Research Centre, Austin, Texas. 4. Ottoline at Garsington: The .Wemoirs of Lady Ottoline .Worrell, 1915-1918, rd. Robert Gathorne Hardy (London, 1974) pp. 190-2. 5. Ibid., p. 150. 6. The Autobiography of Bertrand Russell (London, 1968) I I, p. 21. 7. Ottoline at Gar sing ton, pp. 166-7. 8. Dorothy Brett and John Manchester, 'Reminiscences of Katherine Mansfield', Adam International Review, 1972 pp. 85-6. 9. Ottoline at Garsington, p. 149. 10. Ibid., pp. 186-7. II. Ottoline: The Early Memoirs, ed. Robert Gathorne Hardy (London, 1963) p. 62. 12. The 'translation', so to speak, of people into symbols was a game played at Garsington on at least one occasion when Katherine was present. Ottoline writes in Ottoline at Garsington (p. 150), '\Ve were plavin_g a game after dinner describing people by symbols, such as pictures, flowers, scents; unfortunately Katherine was described by some rather exotic scent such as stephanotis or patchouli, and although her name was not mentioned, we all knew and she knew what was meant. It was dreadful. The spite that was in the company maliciously flared out against her and hurt her.' 13. The link in Katherine Mansfield's mind between ':'vlarriage a Ia :\1ode' 262 Notes ;:nd Garsington is further confirmed by a letter she wrote to Ottolinc in .\ugust 1919: 'I long to sec these pictures: they .round so radiant. But there is alwaYs something fascinatim~, captiYating, about the name.r of pictures: "\\"oman Drying Herself'; "Woman in a Hammock"; "Lady on the Ter­ race"., 14.
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