Bryher (born Annie Winifred Ellerman) is perhaps best known today as the lifelong partner of the poet H.D. She was, however, a central figure in modernist and avant-garde cultural experimentation in the early twentieth century; a prolific producer of poetry, novels, autobiography, and criticism; and an intimate and patron of such modernist artists as Gertrude Stein, Marianne Moore, and Dorothy Richardson. Bryher’s own path-breaking writing has remained largely neglected, long out of print, and inaccessible to those interested in her oeuvre. Now, for the first time since their original publication in the early 1920s, two of Bryher's pioneering works of fictionalized autobiography, titled Development and Two Selves, are reprinted in one volume for a new audience of readers, scholars, and critics.
Blending poetry, prose, and autobiographical details, Development and Two Selves together constitute a compelling bildungsroman that is among the first ever to follow a young woman's process of coming out. Through the fictionalized character Nancy, the novels trace Bryher’s life through her childhood and young adulthood, giving the reader an account of the development of a unique lesbian, feminist, and modernist consciousness. Development and Two Selves recover significant work by one of the first experimenters of the modernist movement and are a welcome reintroduction of the enigmatic Bryher.
In this engaging analysis of a crucial period in Dickens's life, Alexander Welsh corrects our picture of the novelist's development and advocates a new approach to biographical criticism. Welsh centers our attention on an early crisis in Dickens's life and writing. His starting point is 1842, when the thirty year-old established writer (already author of The Pickwick Papers, Oliver Twist, Nicholas Nickleby, and The Old Curiosity Shop) traveled in America advocating international copyright. Welsh argues that the frustration and chagrin Dickens felt on this trip—when the American press accused him of hypocritical self-interest—had a demonstrable impact on his creative development. New powers of characterization are evident in the novels published in the decade that followed: Martin Chuzzlewit, Dombey and Son, and David Copperfield, books named for heroes who became progressively more like projections of the author himself.
In these novels Dickens also asserts his kinship with Moliere, Milton, and Shakespeare. Playing boldly on Tartuffe, Paradise Lost, and King Lear, he lays claim to his own identity as a writer. Welsh shows that as much weight should be given to such literary concerns as to Dickens's recollection—in this same stage of his career—of the childhood trauma memorably inscribed in Copperfield.
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