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Introduction, selection and editorial matter © Janka Kascakova and Gerri Kimber 2015 Individual chapters © Contributors 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndsmills,Basingstoke, Hampshire,RG21 6XS Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–42996–4 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Katherine Mansfi eld and continental Europe: connections and infl uences / edited by Janka Kascakova, Gerri Kimber. pages cm Includes bibliographical references and index. ISBN 978–1–137–42996-4 (hardback) 1. Mansfi eld, Katherine, 1888–1923—Criticism and interpretation. 2. Mansfi eld, Katherine, 1888–1923—Appreciation—Europe. I. Kascakova, Janka, editor. II. Kimber, Gerri, editor. PR9639.3.M258Z7323 2015 823'.912—dc23 2014038550
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Contents
List of Illustrations vii Acknowledgements viii Notes on Contributors ix
1 Introduction 1 Janka Kascakova and Gerri Kimber I Reception 2 An ‘utterly concrete and yet impalpable’ Art: The Early Reception of Katherine Mansfield in Italy (1922–1952) 7 Maurizio Ascari 3 Katherine Mansfield’s Early Translations and Reception in Hungary 26 Nóra Séllei 4 ‘My dear, incomparable, priceless, Kateřina Mansfieldová’ – The Reception and Translations of Katherine Mansfield in (the former) Czechoslovakia 40 Janka Kascakova II Poland and Germany 5 ‘That Pole outside our door’: Floryan Sobieniowski and Katherine Mansfield 59 Gerri Kimber 6 Katherine Mansfield and Stanisław Wyspiański – Meeting Points 84 Mirosława Kubasiewicz 7 Katherine Mansfield’s Germany: ‘these pine trees provide most suitable accompaniment for a trombone!’ 99 Delia da Sousa Correa III Connections with Other Authors 8 ‘Liaisons continentales’: Katherine Mansfield, S. S. Koteliansky and the Art of Modernist Translation 117 Claire Davison
v
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9 ‘There is always the other side, always’: Katherine Mansfield’s and Jean Rhys’s Travellers in Europe 142 Angela Smith 10 The Beauchamp Connection 154 Jennifer Walker IV Identity, the ‘Self’ and ‘Home’ 11 ‘How can one look the part and not be the part?’: National Identity in Mansfield’s ‘An Indiscreet Journey’, ‘Je ne parle pas français’, and ‘Miss Brill’ 171 Erika Baldt 12 ‘Strange flower, half opened’: Katherine Mansfield and the Flowering of ‘the Self’ 185 Kathryn Simpson 13 The ‘dream of roots and the mirage of the journey’: Writing as Homeland in Katherine Mansfield 202 Patricia Moran V Reassessing the Fiction 14 Katherine Mansfield’s Stories 1909–1914: The Child and the ‘Childish’ 221 Janet Wilson 15 Katherine Mansfield and the Fictions of Continental Europe 236 C. K. Stead
Select Bibliography 252 Index 259
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1 Introduction Janka Kascakova and Gerri Kimber
The detail of Katherine Mansfield’s passport on the cover of this volume is a fitting illustration of how – although it was for London and England that she set out on her journey from her New Zealand home in 1908, a journey she believed to be crucial for her life as a writer – she eventu- ally spent a significant amount of time on the Continent, where she also found her final resting place. While initially travelling for pleasure and in search of adventure, Mansfield’s Continental journeys soon became the means of escaping from difficult situations or people, and were later transformed into an increasingly desperate and vain hunt for a cure for her fatal illness. The resonances of this constant travelling can be seen in both her personal writing and her creative endeavours, and, as this volume illustrates, the impact these had on her proved comparably important to the influ- ence her writing would go on to exert on the Continent, long after her untimely death. Thus, this volume seeks to explore the dualistic aspect of Mansfield’s relationship with the Continent, and to highlight not just her constant physical travelling, but also the influence of the Continent and its artists, revealing how these factors would come to shape and inform her own writing, and how eventually the various representations of her persona and body of work would go on to inspire literary production in a number of European countries. The first section, entitled ‘Reception’, opens with Maurizio Ascari’s analysis of the response to Mansfield in Italy between 1922 and 1952. Ascari reveals how Mansfield’s reception was influenced by her personal writings and the cult originating in France, and subsequently illustrates how later translations of her stories into Italian engendered a rich and heterogeneous debate. In the context of another Continental country, Hungary, and taking into account the particular cultural context of the
1
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2 Katherine Mansfield and Continental Europe period from post-World War I up until the early communist era, Nóra Séllei exposes how Mansfield’s work was often used to promote the different aesthetic and literary agendas of various Hungarian authors and, as a consequence, it was attributed values quite alien to her own motivations as a writer. Janka Kascakova discusses Mansfield’s reception in the former Czechoslovakia and its succession countries, revealing how Mansfield – although obviously admired by individual intellectuals to the extent of engendering infrequent but nevertheless steady appear- ances in various publications – never reached the level of fame and appreciation found in France, Italy or even Hungary. The second section encompasses Mansfield’s connections to two European countries that played an important part in her personal and artistic life: Germany, where she underwent one of the most dif- ficult experiences of her life, and Poland, introduced to her in the person of her erstwhile lover Floryan Sobieniowski. In her essay, Gerri Kimber charts the relationship between Mansfield and Sobieniowski, reconsidering their time spent together in Bavaria. Kimber argues for a re-interpretation of this relationship as being more complex than previously thought, and suggests that Mansfield might have visited Poland with Sobieniowski; she offers as possible proof the poem ‘To God the Father’, which uncannily echoes in its descriptions the cele- brated Polish artist Stanisław Wyspiański’s stained glass window of the same name in a Krakow church. In a different take on Mansfield’s Polish connection and its influence, Mirosława Kubasiewicz explores affinities between Mansfield and Wyspiański, offering a discussion of his work as a means of enabling the understanding of her enthusiasm for him. Kubasiewicz discusses their common interest in the metaphysi- cal coexistence of life and death, in the role of the past in the formation of artistic identity, their focus on nature in their artistic endeavours and their exceptional portrayals of children. Delia da Sousa Correa revisits the theme of Mansfield’s relationship with Germany, reflected mostly in the German Pension stories, offering a fresh approach. She investigates Mansfield’s satirical responses to German life beyond the biographical and historical circumstances, but rather via her knowledge of the satiri- cal representations of German Romanticism in Victorian literature, and proposes that satire was integral to Mansfield’s response to German culture, well before her own personal encounter with Bavaria in 1909. The third section, entitled ‘Connections with Other Authors’, com- prises essays linking Mansfield with three very different authors, who were either from Continental Europe themselves (Koteliansky), or who, just as in the case of Mansfield, came from the colonies (von Arnim and Rhys)
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Janka Kascakova and Gerri Kimber 3 and addressed the questions of travel, displacement and the position of colonial outsiders in their works. The section opens with Claire Davison’s analysis of Mansfield and S.S. Koteliansky’s co-translations, challenging the conventional idea – frequently extended to his cooperation with other modernists as well – that she was merely helping out a friend earn his living by polishing his imperfect English. Davison convincingly dem- onstrates that their cooperation was much more than this, and that their shared translation experience brought them into translation networks that marked the new modernist shift towards translation construed as an innovative, experimental engagement, where the poetic and politi- cal alliances of continental Europe could be safeguarded. Following her extensive research on the relationship between Mansfield and her cousin and writer Elizabeth von Arnim, Jennifer Walker discusses their com- mon Beauchamp family origins, highlights themes fundamental to the creativity of both writers, with an emphasis on the importance of music in both their lives. Analysing Jean Rhys’s Good Morning, Midnight and Mansfield’s ‘An Indiscreet Journey’, and ‘Miss Brill’, Angela Smith points out the parallels between the two writers’ presentation of British subjects travelling or settled in Europe and argues that the position of Mansfield and Rhys as colonial modernists enables them to reveal ‘the other side’ of their characters to the reader. The section on ‘Identity, the “Self” and “Home”’ presents three essays exploring the aforementioned themes via a close analysis of several of Mansfield’s ‘Continental’ stories. Erika Baldt discusses how Mansfield’s work is preoccupied with the way national identity is perceived and manipulated. Incorporating Laura Mulvey’s interpretation of the cine- matic [male] gaze, this essay explores the correlation between one’s ability to look a specific national part and one’s ability to be the part. Kathryn Simpson applies Julia Kristeva’s theories to two of Mansfield’s stories: ‘Carnation’ and ‘Summer Idylle’, arguing that via Mansfield’s experimental modernist techniques, narratives of sexual awakening, unconscious drives and repressed desires come to the surface, disturb- ing any sense of unified, coherent identities. Patricia Moran’s essay explores Mansfield’s representations of ‘home’ against the backdrop of her literal homelessness. She proposes that Mansfield exemplifies the post-colonial subject who is never ‘at home’ anywhere, whilst arguing that the category of ‘home’ functions not only as a geographical and social concept, but as a psychological marker of personal, cultural and national identity. The concluding section of the volume offers two reassessments of Mansfield’s fiction by Janet Wilson and C. K. Stead. Both essays engage
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4 Katherine Mansfield and Continental Europe with the so-called European stories, that is, those that were not only written on the Continent but whose settings, themes and ambience are closely connected to it. Wilson discusses the concepts of the child, the childish and the adolescent in stories written between 1909 and 1914, arguing that Mansfield’s travelling in Continental Europe enabled her exploration of new artistic freedoms, reworking earlier themes of romance, betrayal and disillusion in love. Stead reconsiders the ques- tion of whether the usual assumption that Mansfield’s New Zealand stories are ‘better’ than her European ones is a valid one. Through an analysis of some of her stories situated in Continental Europe, he con- cludes that they most certainly can stand alongside their more famous New Zealand counterparts. This volume, then, is another step towards a better understanding of Katherine Mansfield and her work, focusing on the hitherto rather neglected aspect of her Continental travels and subsequent influences and connections. As the following pages demonstrate, the topic is a rich and rewarding one, offering analyses of previously untrodden paths and dark corners of Mansfield’s life and artistic endeavours.
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Index
Abafáy, Gusztáv, 32–3, 38 Baldt, Erika, 3, 171 Abyssinia, 152 Bandol, 239 Adelphi, 124 Bardi, Pietro, 16, 24, 252 Adventures of Elizabeth in Rü gen (von Bartrick-Baker, Vere, 188 Arnim), 157, 158, 160, 167, 258 Bashkirtseff, Marie, 42 Africa and African, 150, 204 Bates, H.E., 37, 252 see also South Africa Baudelaire, Charles, 9, 110, 150, 188 Aissé, Charlotte, 42 Bavaria, Bavarian, 2, 61–5 passim, 73, Albatross (publishing house), 15, 24, 77, 84, 88, 96, 100–5 passim, 111, 44 203, 204 Aldington, Richard, 39 see also Bad Wörishofen Aleramo, Sibilla, 10, 23, 254, 258 Bayreuth, 97, 101, 107, 108 Alexander Turnbull Library, 59, 73, Beachcroft, T.O., 37, 252 81–3 passim, 139 Beasley, Rebecca, 138 Alpers, Antony, 25, 60, 65, 67, 70, Beauchamp, Annie, 60–3 passim, 156 73, 81–2 passim, 96, 97, 156, Beauchamp, Arthur, 154–5 passim 167, 182, 184, 221, 232–5 passim, Beauchamp, Chaddie, 160 243–4 passim, 250, 252 Beauchamp, family, 3, 63, 154–7 Altichieri, Gilberto, 16, 24, 255 passim, 161 America, American, 15, 33, 74, 151, Beauchamp, Harold, 21, 63, 64, 81, 174, 241, 245 155–7 passim, 252 Amundsen, Roald, 143 Beauchamp, Henry Herron, 154–6 Apollinaire, Guillaume, 41 passim, 167 Archa (Czech periodical), 44–5, 53 Beauchamp, Jeanne, 65 Ascari, Maurizio, 1, 7, 53 Beauchamp, John, 155 ascetic, asceticism, 11, 18, 20 Beauchamp, Kathleen Mansfield, 63, Aspekt (Slovak periodical), 51, 55 68, 69, 70, 71, 73, 81, 82, 155–7 Athenaeum, The, 22, 124, 133, 134, passim, 167 139, 141, 161, 246, 247, 251 see also Mansfield, Katherine [KM] Austen, Jane, 162 Beauchamp Lodge, 67 Austria, Austrian, 83, 85 Beauchamp, Sir Sydney, 167 avant-garde, 83, 111, 130, 140, 187, Beauchamp, Vera, 97, 111 252 Bendall, Edith K., 189 Avon, 20 Benjamin, Walter, 178, 182, 183, 184, see also Fontainebleau 252 Bennett, Andrew, 179, 180, 184, 252 Bach, Johann Sebastian, 156 Berkman, Sylvia, 21, 184, 252 Bad Wörishofen, 60–4, 67–9, 72–4, 80, Bibesco, Princess Elizabeth, 79 82, 84, 106, 158, 237 Binckes, Faith, 111, 252 see also Bavaria Bíró, Lajos Pál (Dr), 38 Baker, Ida [‘L.M.’], 59, 61, 62, 65, Bleak House (Dickens), 238 69–70 passim, 72, 73, 79, 138, 252 Blue Review, The, 223, 228 Bakhtin, Mikhail, 122, 138, 252 Boehmer, Elleke, 199
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Bontempelli, Massimo, 19 Christopher and Columbus (von Borges, Jorge Luis, 249 Arnim), 161, 168 Bourget, Paul, 41 Cixous, Hélène, 197, 201, 216, 252 Bowden, George, 59–63 passim, 67, Clarens-Montreaux, 105 69–70 passim, 72, 73, 82, 226 Clarke, Isabel, 21, 253 Bowen, Elizabeth, 139, 185, 198, 203, Coleridge, Samuel Taylor, 25, 113, 204, 205, 216, 252 224, 229–31, 233, 253, 256 Brett, Dorothy, 188 colonial, 3, 18, 101, 142–3, 185, 191, British War Office, 143 199, 203–4, 207–8, 214, 237, 244 Brontë, Emily, 16 Communist, Communism, 2, 19, 27, Browning, Elizabeth Barrett, 42 28, 30, 34–7 passim, 46–7 passim, Brown, Rosellen, 215, 218 49, 51, 55, 152 Bruges, 221 Conrad, Joseph, 41 Brussels, 60 Corbaccio (Italian publishing house), Buch der Lieder (Heine), 100 15 Bunin, Ivan, 140, 252 Craig, Edward, 76–7 Burgan, Mary, 234, 252 Critical Essays on Katherine Mansfield Butler, Judith, 198 (Nathan [ed]), 234, 256 Byron, Lord George Gordon, 155 Critical Response to Katherine Mansfield, The (Pilditch [ed]), 22, 96, 184, Campbell, Beatrice, 112 198, 256 Cannan, Gilbert, 130 Curnow, Allen, 51, 55 Cantos (Pound), 118, 124 Cushing, G.F, 38 ‘Captain Ribnikov’ (Kuprin), 124, 126–8, 139 Daily News, The, 117 Caravanners, The (von Arnim), 103 Daly, Saralyn, 176, 183, 253 Carco, Francis, 21, 78, 143, 223, 239, Dandolo, Milli, 16–7, 24, 255 240, 250, 252 Daniel Deronda (G. Eliot), 110 Carlyle, Thomas, 104 da Sousa Correa, Delia, 2, 81, 99, 111–13 Catalano, Ettore, 14, 24, 252 passim, 160, 168, 253, 254, 258 Cather, Willa, 208, 217, 252 David Copperfield (Dickens), 16 Catholic, Catholicism, 8, 15, 19, 35, Davison, Claire, 3, 117 36, 44, 45, 48, 49, 55 de Beauvoir, Simone, 198 Cecchi, Emilio, 8–9 passim, 15, 18, 22, Debussy, Claude, 108, 162 24–5 passim de Charms, Leslie, 155, 167, 168, 253 Ceretti, Emilio, 15–6, 24, 255 Degenerate Art Exhibition (Munich, Chalet des Sapins, 162, 165, 222 1937), 46 see also Montana-sur-Sierre DeKoven, Marianne, 186, 199 Chalet Soleil, 154, 161, 162, 165–6 Deliverance (Wyspiański), 86 passim Desbordes-Valmore, Marceline, 42 Chekhov, Anton, (also Tchekhov), Dickens, Charles, 16, 238 9, 34, 41, 46, 47, 50, 51, 122–6 Dickinson, Emily, 16, 147, 148 passim, 133–6 passim, 138–141 Diment, Galya, 140, 253 passim, 203, 237, 239, 241, 242, Diotima (Amelia Della Pergola), 253–5 passim 19–20, 25, 253 Chelsea studio, 78–79 Dix minutes de culture spirituelle par Cherry Orchard, The (Chekhov), 134 jour (Sertillanges), 19, 25, 257 Chmiel, Adam, 90, 93, 97 Dostoevsky, Fyodor, 18, 50, 64, 124, Chopin, Frédéric, 161 140, 241–2, 250, 253
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Index 261
Duckworth-Barker, Vernon, 34, 38 Forster, E. M., 160, 162 Dunbar, Pamela, 178, 179, 183, 184, Foucault, Michel, 37 224, 232, 235, 253 France, 1, 2, 8, 10, 11, 15, 26, 40, 41, Durini di Monza, E.A., 11, 23 53, 79, 143, 144, 145, 177, 180, 192, 202–5 passim, 210, 217, 222, È caduta una donna (Dandolo), 16 223, 237, 246 Edwardian, 225, 229 French, Vera, 59, 67, 69 Elgin Crescent, 78 Freud, Sigmund, (Freudian), 9, 43, Eliot, George, 100, 101, 104, 110, 111, 131, 146, 187–8, 191, 235 112, 254 Friis, Anne, 21, 253 Eliot, T. S., 18, 25, 137, 147, 188, Fullbrook, Kate, 235, 253 246–7, 251, 253, 256, 257 Eliot, Vivienne, 246, 248 Galeries Lafayette, The, 150 Elizabeth and her German Garden (von Galsworthy, John, 39, 105 Arnim), 103, 156–7, 159, 160, Garnett, Constance, 112, 125–6, 162–3, 167–8 passim, 258 133–6, 139, 253 Elizabeth, Countess Russell, 161, 167, Garnett, David, 9 168 Garsington, 168 see also von Arnim, Elizabeth Gauguin, Paul, 97 Emerson, Ralph Waldo, 196, 201 Gazeta Poniedziałkowa (Polish Enchanted April, The (von Arnim), 165, periodical), 73, 82, 96 166, 168, 258 Gazzetta del Popolo (Italian periodical), England, 1, 16, 41, 54, 60, 61, 69, 71, 10, 23 74, 75, 76, 102, 103, 120, 157, Geneva, 105, 106, 221, 226, 228 202–4 passim, 206–7 passim, 210, ‘Gentleman from San Francisco, The’ 214, 217, 218, 221, 223, 238, 244, (Bunin), 130, 140 249, 250 Gerhardi, William, 91 Erdélyi Helikon (Hungarian periodical), German and Germany, 2, 15, 31, 33, 32, 38 41, 57, 60, 63, 64, 71, 76, 78, 80, Europe, 1–4, 16, 17, 28, 31, 40–2, 53, 81, 82, 84, 96, 97, 99–112, 120, 63, 65, 74, 77, 86, 88, 97, 101, 121, 151, 152, 156–63, 167–8, 137, 142, 150–1, 153, 154, 155, 171, 183, 188, 204, 211, 221, 236, 185, 186, 189, 202–4, 207–8, 214, 237, 238, 244, 249, 252, 255, 258 221, 232, 234, 236–7, 239 Gesamtkunstwerk (Wagnerian ‘total art exhibition see Degenerate Art work’), 108–9 Exhibition (Munich, 1937); Great Gli indifferenti (Moravia), 10 Exhibition (London, 1851); Paris Gloucester Place, 61, 67, 72 Exhibition (1937) Glover, Denis, 51, 55 existential, 19, 122 God the Father (Wyspiański), 67, 89 Goethe, Johann Wolfgang von, 100, Fanger, Donald, 128, 129, 131, 104 139–41 passim, 253 Goldenveizer, A.B., 140, 253 Fascism, fascist, 8–10, 17, 19, 22, 23, Golomb, Jacob, 91, 253 151, 152 Good Morning Midnight (Rhys), 3, 142, Ferrall, Charles, 234, 250, 253 143, 146–53, 257 Filmová kartotéka (Czech periodical), ‘Good Night, Day’ (Dickinson), 147 48, 54 Gorky, Maxim, 123, 124, 128–9, 131, Fontainebleau, 18, 120, 123, 138, 166 133–4, 139–41 passim, 253 see also Avon Gothic, 97
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Gramsci, Antonio, 19–20, 23, 25, 253, Impressionism, Impressionists, 258 impressionistic, 9, 32, 33, 34, 50, Grasset, Eugène, 97 212, 214, 225, 232 Gray, Nancy, 189, 198, 200, 201 Institute for the Harmonious Great Britain, 9, 10, 23, 99, 112, 134, Development of Man, 138, 166 138, 141, 142, 152, 249, 252 I promessi sposi (Manzoni), 18 Great Exhibition (London, 1851), 151 Grieg, Edvard Hagerup, 99, 111 Jackson, Anna, 234, 253 Guernica (Picasso), 152 Jaloux, Edmond, 11, 23, 255 Guerricchio, Rita, 23, 254 Janta, Alexander, 64, 75–6 Guerrini, Vittoria, 17, 24, 255 Japan, Japanese, 99, 126–7, 179 Gurdjieff, George, 138 Jednota (Czech and Slovak periodical), Gurdjieff Institute, see Institute for 45, 54 the Harmonious Development Jones, Kathleen, 52, 55, 82, 97, 189, of Man 200, 235, 254 Gurr, Andrew, 216, 254 jouissance, 197 Joyce, James, 9, 15, 18, 22, 34, 39, Haight, Gordon, 112, 254 152, 153, 188, 254 Hajós, Alice S., 37 József, Attila, 30–1 Hall, Stanley G., 223, 234, 254 Judges, The (Wyspiański), 74, 79, 83, Hamlet, 151, 153, 208, 217 90, 96, 98 Hankin, Cherry, 79, 83, 200, 224, 234, 235, 254 Kaplan, Sydney Janet, 21, 107, 112, Hanson, Clare, 198, 218, 254 175, 178, 183, 185, 198, 206, 216, Hardy, Thomas, 41 224, 234, 235, 254 Harrison, Kathryn, 215, 218 Karinthy, Frigyes, 38, 39 Haughton, Hugh, 251, 253 Karori, 45, 217 Heine, Heinrich, 100, 105, 111 Kascakova, Janka, 1, 2, 40, 54, 55, 255 Henstra, Sarah, 175, 182–4 passim Katherine Mansfield (Bennett), 184, 252 Herbarium (Wyspiański), 91 Katherine Mansfield (Fullbrook), 235, Hermann und Dorothea (Goethe), 104 253 Herzen, Alexander, 104, 112 Katherine Mansfield: A Literary Life Hitler, Adolf, 152 (Smith), 96, 138, 183, 199, 257 Hoffman, Eva, 205, 207, 216–18 passim Katherine Mansfield and Her Hoffmann, E. T. A., 104, 110 Confessional Stories (Hankin), 200, Hofmannstahl, Hugo von, 76, 83 234, 254 Homage to Sextius Propertius (Pound), Katherine Mansfield and Literary 124 Modernism (Wilson, Kimber, Hudson, Stephen, 246 Reid), 81, 97, 199, 258 see also Sydney Schiff Katherine Mansfield and the Modernist Hughes, Richard, 39 Marketplace: At the Mercy of the Humphreys, Christmas, 14, 24, 254 Public (McDonnell) 111, 199, 256 Huxley, Aldous, 34, 39 Katherine Mansfield and the Origins of Modernist Fiction (Kaplan), 21, Ignotus, Pál, 30 112, 183, 198, 216, 234, 254 Il gioco segreto (Morante), 18 Katherine Mansfield: A Secret Life Illness, Gender and Writing: The Case (Tomalin), 83, 200, 234, 258 of Katherine Mansfield (Burgan), Katherine Mansfield: In from the Margin 234, 252 (Robinson [ed]), 184, 234, 257
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Katherine Mansfield: The Memories of Levenson, Michael, 199, 255 LM (Baker), 138, 252 Life of Katherine Mansfield, The Katherine Mansfield: The Storyteller (Alpers), 25, 81, 97, 167, 184, (Jones), 82, 200 234, 250, 252 Katherine Mansfield: The View from Life of Katherine Mansfield, The (Mantz France (Kimber), 21, 52, 53, 184, and Murry), 21, 81, 168, 255 200, 234, 254 Lifková, Irena, 55 Keats, John, 41, 148 liminality, 124, 199 Kennedy, J.M, 102 Lisowski, Zbigniew, 78, 83 Kimber, Gerri, 1, 2, 8, 21, 22, 52, 53, Liszt, Franz, 110, 156 59, 80, 81, 83, 89, 93, 97, 98, L’Italia letteraria (Italian periodical), 111–13 passim, 168, 180, 184, 10, 23 188, 199–201 passim, 234, 249, Literární noviny (Czech periodical), 253, 254, 258 47, 54 Kimber, Gerri and O’Sullivan, Literary Modernist: Katherine Mansfield Vincent, 98, 111, 234, 249 and the Art of the Short Story, Koteliansky, Samuel, 2, 3, 18, 117–99 A (Kimber), 98, 254 passim, 122–41, 222, 252, 253, ‘L. M.’, see Baker, Ida 254, 258 Lodge, David, 37, 255 Krakow, 2, 59, 66, 67, 71, 74, 85, 88, London, 1, 16, 60, 61, 63, 65, 70, 71, 89, 92, 96 73, 74, 76, 77, 82, 84, 88, 100, Kristeva, Julia, 3, 186–91, 194–8 101, 104, 142, 147, 151, 154, 156, Krytyka (Polish periodical), 77, 83 157, 161, 162, 164, 166, 188, 204, Kubasiewicz, Mirosława, 2, 80, 83, 84 207–9 passim, 211, 214, 226, 236, Kuprin, Aleksandr, 123, 124, 126, 139, 239, 240, 242, 246 254 London Review of Books, The, 249, 251 Longest Journey, The (Forster), 160 Lacan Jacques, 191 Lo spettatore italiano (Italian Lady Into Fox (Garnett, D.), 9 periodical), 9, 22 La parola e il libro (Italian periodical), ‘Love Song of J. Alfred Prufrock, The’ 11, 23 (T.S. Eliot), 147, 149 Lateran Treaty, 8 Lowry, Lois, 215, 218 La Tribuna (Italian periodical), 8, 22 Lynd, Sylvia, 211 Lawlor, Patrick Anthony, 21, 255 Lawrence, D. H., 13, 34, 118, 130, ‘Maata’, see Mahupuku, M. G. 147, 238, 245 Macaulay, Rose, 33, 137 Lawrence, Frieda, 103 Madame Butterfly, 179, 240 Lea, Frank, 78. 83, 255 Maddison, Isobel, 101, 102, 111, 112, Leave All Fair (film), 48 167–8 passim, 254, 255 Ledger, Sally, 199, 255 Maeterlinck, Maurice, 76, 82 Lenoël, Odette, 21, 255 Mahupuku, Martha Grace, 189–90 Les Fleurs du Mal (Baudelaire), 188 Mallarmé, Stéphane, 41 Les Innocents (Carco), 240, 250, 252 Malomvizi, Magda, 35, 39 Lespinasse, Jeanne Julie Éléonore de, 42 Mandel, Miriam B., 181, 184 Lessing, Doris, 249 Mander, Jane, 214 Lessing, Gotthold Efraim, 105 Manhire, Vanessa, 109, 113 Lettere dal carcere (Gramsci), 19 Mansfield, Katherine (KM) Letters of John Middleton Murry to see also Beauchamp, K. M. Katherine Mansfield (Hankin), 79, 83 adolescence, 4, 188, 221–3, 226, 233
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264 Index
Mansfield, Katherine (KM) – continued relationship with her brother, 44, alienation, 120, 208 208, 239 born actress, 138 spirituality, 10, 33, 35, 36 brother’s death, 16, 17, 33, 44, 88, the uncanny, 146 239 translated into Czech, 44–8 passim; childhood, 12, 16, 32, 51, 74, 191, Hungarian, 26, 28–32 passim, 202, 203, 208, 210, 214, 224–5, 239 34–36 passim; Italian, 10–11, 15–18 childishness, 2, 221–34 passim, ; Slovak, 48–53 passim Christianity, 19–20, 191 ‘voice’, 102, 108, 119, 123–31 (co-)translator, 3, 64, 77, 79, 83, 90, passim, 138, 145, 214 96, 98, 118–37 literary works as books: Bliss cult, 1, 12 and Other Stories, 9,10, 15, death, 1, 7, 8, 9, 12, 20, 27, 42–3, 46; Collected Fiction (Kimber, 76, 78, 91, 124, 162, 197, 204, O’Sullivan), 59, 61, 81, 99–100, 211, 245, 249 102, 108, 111, 121, 138, 237, 238, displacement, 3, 208, 222 240–41, 244–8 passim; Collected divorce, 67, 73 Letters (O’Sullivan, Scott), 51, 55, epiphany, 181, 206, 247, 250 61–3, 65, 78, 79, 81–3 passim, gender, 104, 106, 128, 172, 185–6, 87, 91, 97–8, 101, 103, 105, 188, 190, 192, 195, 206, 222, 229 107, 111–12 passim, 119, 123–4 gonorrhoea, 80 passim, 126, 130, 137–40 passim, hagiographic representations, 18, 142, 143, 153, 164–5, 168, 174, 27, 40, 44, 50 182, 183, 184, 187–8, 199, 200, humour, 48, 52, 117, 158, 238 202, 209–12 passim, 216–18 identity, 2, 3, 87, 89, 97, 142, 146, passim, 222, 223, 234, 246, 247, 171–83, 185–6, 189–90, 195–6, 248, 250–1 passim, 256; Doves’ 198–9, 202, 203, 206, 208–9, 212, Nest and Other Stories, The, 9; 229–30, 233, 237, 249 Garden Party and Other Stories, influence of cinema and filmic The, 9, 11, 23, 46, 165, 255; In devices, 174–83, 240 a German Pension, 2, 63, 100, influence of music, 3, 99–110, 128, 102–11 passim, 158, 167–8, 171, 129, 130, 160–7, 236 183, 221, 236–8, 249; 231; Journal lesbianism, 29, 62–3, 73, 190, 196, (Murry’s editions), 7, 9, 12, 14, 200 15, 16, 20, 21, 25, 40, 42–4 liminality, 120, 124, 199, 222, 224, passim, 53, 256; Letters (Murry’s 233 editions), 7, 9, 10, 11, 12, 15, marriage to George Bowden, 60–3 16, 20, 34, 43, 76, 77; Montana passim, 226 Stories, 162–4 passim; Notebooks mysticism, mystical approach, 11, (Scott), 1, 81, 101, 106, 111, 112, 13, 19–20, 250 117, 120–4 passim, 132, 137–41 myth of, 11, 40, 42 passim,142, 143, 153, 154, 167, orality, 125, 194 185, 187, 189, 198–201 passim, portrayal of children, 2, 34, 44, 48, 207, 211, 213, 217, 218, 242–4 92–3, 207, 246 passim, 250; Novels and Novelists, pregnancy, 62, 72, 236, 237 54, 168, 256; Poems (Murry), 16, reception: Czech and Slovak, 2, 161, 168; Poems (O’Sullivan), 40–55; English, 27; French, 1, 8; 89–90, 97, 256; Scrapbook, 7, 17, Hungarian, 2, 26–39; Italian 1, 18; Selected Stories (Smith), 143, 7–25; in Polish, 76–77 144–6 passim,153, 171–83 passim,
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Index 265 poems: ‘Floryan Nachdenlich’, 66, Without a Temperament, The’, 78; ‘Man with a Wooden Leg’, 18, 234, 242, 243; ‘Marriage à 51; ‘Night-Scented Stock’, 161, la Mode’, 206; ‘Married Man’s 168; ‘To God the Father’, 2, 59, Story, A’, 234; ‘Millie’, 248; ‘Miss 66, 82, 89, 96, 97; ‘To Stanislaw Brill’, 3, 50, 54, 130, 142, 143, Wyspianski’, 66, 73, 77, 78, 84, 145–6 passim,171–2 passim, 174, 86, 90 180–2, 184, 238; ‘Modern Soul, prose and stories: ‘Aloe, The’, 78, The’, 100, 102, 110, 237, 238, 183, 208, 221, 222, 224, 225, 249; ‘Mr Reginald Peacock’s Day’, 233; ‘At the Bay’, 52, 91, 204, 47, 48; ‘New Dresses’, 221; ‘Ole 205, 209, 239, 248, 250; ‘Bavarian Underwood’, 50, 248; ‘Prelude’, Sketches’, 61; ‘Birthday, A’, 13, 50, 52, 91, 205, 206, 208, 237; ‘Bliss’, 10, 28, 29, 32, 35, 224, 225, 239, 248; ‘Poison’, 236, 37, 91, 206, 245; ‘Brave Love’, 245, 250; ‘Psychology’, 188, 199; 250; ‘Canary, The’, 13, 35, 91; ‘Revelations’, 246, 250; ‘Singing ‘Carnation’, 3, 51, 187–98 passim, Lesson, The’, 100, 109; ‘Sister of 200; ‘Child Who Was Tired, the Baroness, The’, 100; ‘Six Years The’, 93; ‘Cup of Tea, A’, 26, 28, After’, 17; ‘Something Childish 32, 38, 54; ‘Daughters of the But Very Natural’, 32, 222–234 Late Colonel, The’, 51, 52, 143, passim; ‘Stranger, The’, 81, 224; 206–7; ‘Die Einsame’, 158, 166, ‘Suburban Fairy Tale, A’, 35; 167;‘Dill Pickle, A’, 28–30, 224, ‘Summer Idylle’, 3, 187, 189–90, 239; ‘Doll’s House, The’, 9, 28, 198; ‘Sun and Moon’, 22; ‘Swing 30–2 passim, 93, 156, 205, 207, of the Pendulum, The’, 237; 248; ‘Dove’s Nest’, 17; ‘Epilogue ‘Taking the Veil’, 222; ‘Tiredness I: Pension Seguin’, 226, 228, 230; of Rosabel, The’, 28, 32, 221, 225, ‘Escape, The’, 16, 236, 245–6, 230, 231, 234; ‘Truthful Adventure, 250, 251; ‘Feuille d’Album’, 171, A’, 232, 238, 239; ‘Voyage, The’, 183, 239;‘Fly, The’, 13, 15, 28, 50, 210, 248; ‘Weak Heart’, 222; 32, 51, 146; ‘Frau Brechenmacher ‘Wind Blows, The’, 248; ‘Woman Attends a Wedding’, 56, 102, 104; at the Store, The’, 18, 48, 52, 107, ‘Garden Party, The’, 91, 157, 221, 248; ‘Wrong House, The’, 35; 162–5, 168, 205, 206, 248; ‘Young Girl, The’, 250 ‘Germans at Meat’, 99, 101–2, Mantz, Ruth Elvish, 63–4 158; ‘House, The’, 226, 227, Manzoni, Alessandro, 18 234; ‘How Pearl Button Was Maori, 74, 120, 142, 189, 190, 229 Kidnapped’, 221; ‘Indiscreet Martin, Biddy, 205, 216 Journey, An’, 3, 48, 142–4, 152, Martin, W. Todd, 102–3, 111–12, 254 171–4, 177, 179–180, 182, 239, Mask, The, 76, 82 250; ‘Je ne parle pas français’, 14, Maso, Carole, 215, 218 52, 171–2, 177, 179–183 passim, Maugham, W. S., 39 234, 236, 239, 242; ‘Journey to Maurois, André, 132 Bruges, The’, 232, 239; ‘Juliet’ Mauss, Marcel, 197 (draft), 188, 200, 222; ‘Life of McAfee, Noëlle, 200, 256 Ma Parker, The’, 34, 238; ‘Little McCorkle, Jill, 214, 218 Episode, A’, 59–61, 221, 223–7, McDonnell, Jenny, 102, 111, 199, 230; ‘Little Girl, The, 51, 221, 200, 256 225;‘Little Governess, The’, 222, ‘Memoirs from a Dark Cellar’ 224, 225, 232, 233, 239; ‘Man (Dostoevsky), 241, 250
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Menton, 72, 79, 209, 246 167–8, 183, 186–7 passim, 202, Menzogna e sortilegio (Morante), 18 217–18 passim, 222–3, 225, 232, Meredith, George, 41 234–5 passim, 239–40, 243–6 Merlin, Roland, 21, 256 passim, 253–6 passim Meschonnic, Henri, 129, 140, 256 Murry, Richard, 107, 130 Meyers, Jeffrey, 64, 76, 81, 82, 96 Musa, Gilda, 25, 256 Milburn, Diane, 101, 111, 112, 256 Mussolini, Benito, 152 Miles, Patrick, 141, 255 militarism, 101, 102 Naše rodina (Czech periodical), 48, 54 Mills, Tom, 63, 81 Nassenheide, 156, 160, 164 Miranda, Isa, 16 Nation, The, 9, 22 modernisation 45, 224–5 Nation and the Athenaeum, The, 22 modernism and modernists, 3, 21, Němcová, Božena, 42 27–30 passim, 33, 34, 45–6 Németh, Andor, 37 passim, 51, 55, 81, 97, 98, 104, New Age, 61, 73, 101, 102, 111, 235, 109–12 passim, 117–18 passim, 242, 256 120, 124, 130–2 passim, 136–7 New Review, 250 passim, 140, 142, 147, 152, 153, New W. H., 224, 229 160, 174, 183, 185–8 passim, New Zealand, 1, 4, 12, 16, 27, 33, 47, 198–9 passim, 203, 213, 216, 218, 49, 51, 60–1, 63, 73–4 passim, 84, 234, 252, 254–8 passim 88, 97, 101, 103, 107, 120, 142, Mohanty, Chandra, 206, 216 154–7 passim, 162, 164, 189–90, Mondadori, Arnoldo, 11, 15, 24 202–10 passim, 214, 216, 221–2 Mongault, Henri, 127 passim, 234, 236–7, 239, 248–9 Montana-sur-Sierre, 154, 161–2, 168, Nicolson, Harold, 132 222 Nietzsche, Friedrich, 100 see also Chalet des Sapins; Chalet Norwid, Cyprian Kamil, 74, 82 Soleil Norwood, Hugh, 73 Moody-Manners Opera Company, 60 Nuova Antologia (Italian periodical), Moran, Patricia, 3, 188, 199, 202, 216, 16, 24 256 Nyugat (Hungarian periodical), 28, 30, Morante, Elsa, 17–18, 24–5 passim, 255 33–4, 38, 39 Moravia, Alberto, 10–11, 18, 23 Möricke, Eduard, 100 Oates, Joyce Carol, 214 Morrell, Lady Ottoline, 79, 123, 168, O’Brien, Flann, 249, 251 182 Occidente: sintesi dell’attività letteraria Moseley, Oswald, 152 nel mondo (Italian periodical), Mozart, Wolfgang Amadeus, 99, 166 14, 24 Mukherjee, Bharati, 203, 216 O’Connor, Frank, 37, 204, 216, 248, Mulvey, Laura, 3, 172, 174–8, 181, 256 183, 184, 256 ‘Ode on a Grecian Urn’ (Keats), 148 Munich, 46, 64, 67, 73, 97 Okońska, Alicia, 96, 256 Murray, Heather, 224, 235, 256 Olsson, Anders, 213, 214, 218 Murry, John Middleton, 7, 9, 13, 18, Orage, A. R., 123 20–2 passim, 24, 27, 33, 34, 36, Ospedaletti, 14, 211, 237, 242 40, 42–7 passim, 50, 53–4 passim, Osteen, Mark, 196, 201, 256 72, 74–9 passim, 82, 83, 91, O’Sullivan, Vincent, 63, 91, 97, 98, 103, 105–7, 112, 120, 123, 130, 183, 206–7, 212, 216–18 passim, 133, 138–42 passim, 154, 161–2, 250, 256
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see also O’Sullivan, Vincent and Radical Mansfield: Double Discourse in Scott, Margaret; Kimber, Gerri Katherine Mansfield’s Short Stories and O’Sullivan, Vincent (Dunbar), 235, 253 O’Sullivan, Vincent and Scott, Rákosi, Mátyás (the Rákosi era), 27, Margaret, 81, 97, 111, 137, 153, 35, 37 168, 183, 199, 216, 234, 250, 256 Randogne, 165 Reading Mansfield and Metaphors of Pa-man, 155, 249 Form (New), 235, 256 Paris, Parisian, 15, 18, 53, 64, 67, Reichard, Piroska, 34 68, 70, 73, 78, 82, 97, 103, 123, Reid, John, 48 142, 147–51 passim, 165–6, Reid, Susan, 81, 97, 113, 199, 200, 172–3, 176–9, 221–3, 226–7, 234, 253, 258 239–40, 242 Renaissance, 118 Paris Exhibition (1937, ‘An Revolution in Poetic Language International Exposition of (Kristeva), 187, 194, 195, 199, 254 Arts and Techniques Applied to Revue svetovej literatúry (Slovak Modern Life’), 151–2 periodical), 51, 55 Passage to India, A (Forster), 160 Rhys, Jean, 2, 3, 142–3, 146–7, 151, Pastor’s Wife, The (von Arnim), 104 153, 257, 258 Pásztortűz (Hungarian periodical), Rhythm, 59, 66, 74, 76–7, 81, 82, 97, 30–1 140, 186, 199, 221–3 passim Pegaso (Italian periodical), 11, 23 Rice, Anne Estelle, 211 Pei, Meg, 215, 218 Richardson, Dorothy, 9, 104, 108 Pessoa, Fernando, 249 Ricks, Christopher, 251, 257 Peter Pan (Barrie), 16 Rilke, Rainer Maria, 97, 257 Pettersson, Torsten, 213, 218 Rimbaud, Arthur, 41, 148 Philipson, Aldo, 14, 24, 254 Rippmann, Walter, 100, 188 Picasso, Pablo, 152 Riviera, 106, 243, 246, 251 Pilditch, Jan, 7, 22, 96, 98, 184, 198, Rivista di letture (Italian periodical), 256 15, 24 Pinney, Thomas, 111, 256 Robinson, Roger, 180, 184, 234, 235, Pointed Roofs (Richardson), 104, 112, 257 257 Rocchini, Maria Teresa, 17, 24, 255 Poland, Polish, Pole, 2, 57, 59, 61, Rodocanachi, Lucia, 11 64–9 passim,73–6 passim, 78–86 Romanticism and Romantics, 2, 33, passim, 92, 95–7 passim, 236, 237 82, 99, 101, 107–11, 118, 157, postcolonial, 3, 27, 148, 185, 190, 202 163, 213, 225 post-Impressionism, post- Romaszkan, Eva, 17, 24, 255 impressionist, 47 Roquebrune, 246, 250 Pound, Ezra, 118, 120, 124, 137, 247 Rosati, Salvatore, 16, 24 Pratt, Minnie Bruce, 206 Roses (Wyspiański), 92 primitivism, 45 Rota, Bertram, 96, 257 Pritchett, V.S., 47, 203–4, 216, 248 Royal College of Music, The, 156 Proust, Marcel, 9, 16, 160 Rubenstein, Roberta, 137–8, 210, 217, Prussia, Prussian, 85, 102, 104, 156, 157 257 Pykett, Lyn, 199, 256 Rubinstein, Anton, 110 Rupp, Fritz, 101 Queen’s College, Harley Street, 100, Russell, Bertrand, 34, 212 157, 188 Russell, Lord Francis, 161
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Russia, Russian, 18, 23, 29, 30, 37, Slovenský východ (Slovak periodical), 46, 64, 65, 78, 85, 117–23 passim, 48, 54 126–30 passim, 138–41 passim, Smile Please (Rhys), 142 147, 228, 237, 239, 241, 254, 257 Smith, Angela, 3, 54, 83, 86, 96, 98, see also Soviet 120, 138, 142, 153, 183, 189–90, Ruzitska, Mária, 37 199, 200, 208, 217, 254, 257 Sobieniowski, Floryan, 2, 59, 61, 64–8, Said, Edward W., 202, 213, 216, 218 70, 72–82, 84, 86, 95, 96, 98 Šalda, F.X., 40–2, passim, 44, 52, 53, South African, 204 257 see also Africa and African Šaldův zápisník (Czech periodical), Soviet (Union), 30, 37, 46, 55, 151 41, 53 see also Russian, Russia Sargeson, Frank, 250 Spanish Civil War, 152 Sartor Resartus (Carlyle), 104 Šrámek, Fráňa, 41, 53 Saunders, Max, 140, 257 Stavrogin’s Confession (Dostoevsky), Schiff, Sydney, 165, 168, 246–7, 250 130, 140, 253 Schiff, Violet, 246–7, 250 Stead, C. K., 3, 4, 235, 236, 250, 257 Schiller, Leon, 60, 76–7, 83 St Petersburg, 129, 130 Schiller, Madeline, 77 Strachey, Lytton, 34, 132, 140, 257 Scott, Bonnie Kime, 199, 257 Strand Palace Hotel 70, 71 Scott, Margaret, 21, 53, 77, 81, 97, St Thérèse, 19–20 111, 137, 138, 153, 167, 198, 217, Sutton, Emma, 108–9, 112–3 235, 250, 257 Switzerland, 105–7, 112, 203, 205, see also O’Sullivan, Vincent and 222 Scott, Margaret Symbolist, Symbolism, 82, 108–10, Scrittori inglesi e americani (Cecchi), 188 15, 24, 252 Symons, A.J., 132 Séllei, Nóra, 2, 26 Symons, Arthur, 108 Sertillanges, Antonin Dalmace, 19, Szép Szó (Hungarian periodical), 30 25, 257 Szerb, Antal, 33–4, 38, 257 Seshagiri, Urmila, 174, 179, 183, 184, 257 Tannhäuser (Wagner), 104, 108 Shackleton, Ernest, 143 Terlecki, Tymon, 77–8, 83 Shakespeare, William, 41, 162, 210, Teutonism, 100 242 Times Literary Supplement, The (TLS), Shaw, George Bernard, 64–5, 78 235, 251 Shelley, Percy Bysshe, 41 Toibin, Colm, 249, 251 Shieff, Sarah, 250, 257 Tolstoy, Leo, 139–41 passim, 253, 258 Shklovsky, Viktor, 133, 141 Tolstoy, Sophia, 141, 258 Showalter, Elaine, 199, 257 Tomalin, Claire, 78–80, 83, 188, 200, Simpson, Kathryn, 3, 185, 201, 257 234, 235, 258 Sísová, Miloslava, 42–3, 53 Tomczyk-Maryon, Marta, 90, 97, 98, Sitwell, Osbert, 39 258 Skoumal, Aloys, 45–8 passim, 50, 52–4 Tomlinson, Philip, 125, 130, 133, passim, 255 135–6, 139–41 passim, 254 Slovenské pohľady (Slovak periodical), Transylvania, 31–2 50, 55 Tre prigionieri (Diotima), 19, 25, 253 Slovenské zvesti (Slovak periodical), Tristan und Isolde (Wagner), 109 49, 54 Trowell, Arnold, 101
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Trowell family, 60–2, 111, 236 Wellington, 60, 62, 63, 65, 78, 100, Trowell, Garnet, 60, 107, 112, 226, 104, 236 236 Welty, Eudora, 181, 182, 184 Trowell, Thomas, 101, 111 Wevers, Lydia, 21 tuberculosis, 35, 43, 135 Whitman, Walt, 69, 71, 160 Tuková, Otílie, 46, 54 Wiadomości (Polish periodical), 76, 82 Twórczość (Polish periodical), 76, 83 Wide Sargasso Sea (Rhys), 142, 143, 146, 153, 257 Új Idők (Hungarian periodical), 29, Wilde, Oscar, 61, 73, 148, 188, 193 32, 37 Wilson, Janet, 3, 4, 81, 97, 111, 112, Ulysses (Joyce), 18, 152, 153, 254 168, 189, 190, 199–200 passim, Una Donna (Aleramo), 10 221, 254, 258 Winston, Janet, 188–9, 196, 200–1 Van Gogh, Vincent, 97 passim Vatican, 8 Woods, Joanna, 63, 81 Verlaine, Paul, 41, 148 Woolf, Leonard, 118, 124, 138, 139, Viaggio in Sardegna (Philipson), 14 140, 141, 252, 253, 254, 255, 258 Victorian, 2, 100, 112, 119, 132, 136, Woolf, Virginia, 16, 18, 22, 33, 34, 140, 246, 252, 257 108–10 passim, 112, 113, 118, Vigilia (Hungarian periodical), 35–6, 130, 132, 134, 136–41 passim, 39 199–201 passim, 211, 216, 217, Villa Isola Bella, 209, 217 252, 253, 255–8 passim Vittorini, Elio, 11–15 passim, 18, 20, Word of Mouth: Body Language in 23–4, 258 Katherine Mansfield and Virginia von Arnim, Elizabeth, 2, 3, 103–4, Woolf (Moran) 199, 216, 256 112, 154–68, 255, 258 Wordsworth, Dorothy, 164 see also Elizabeth, Countess Russell World War I, 17, 31, 33, 101–7, 111, Voyage in the Dark (Rhys), 146 112, 136, 239, 254, 257 Voyage Out, The (Woolf), 108–9, 112 World War II, 17, 22, 34, 36, 39, 46, 50, 54, 55, 76, 150, 152, 167 Wagenknecht, Edward, 180, 184 Wright, Celeste Turner, 98 Wagner, Richard, 97, 99–101, 103, Wyndham, Francis and Melly, Diana, 107–12 passim, 159–60 153, 258 Walker, Jennifer, 3, 154, 167 Wyspiański, Stanisław, 2, 59–61, 64, war see World War I; World War II; 66–7, 73–4, 76–9, 81–98 passim, Spanish Civil War 237, 256, 257, 258 War Office see British War Office Warsaw, 67–8 Zampa, Giorgio, 22, 258 Waterlow, Sydney, 124, 139 Zancan, Marina and Pipitone, Wedding, The (Wyspiański), 86, 96 Cristiana, 23, 258 Weintraub, Wiktor, 76, 82 Živena (Slovak periodical), 50, 54–5 Wells, H. G., 39 Život (Slovak periodical), 51, 55
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