By J. McDonnell
Katherine Mansfield had a career-long engagement with the literary industry from the age of eighteen. This booklet examines how she built as a author inside a number of e-book and periodical publishing contexts, reconsidering her writing's enactment of a commercially plausible sleek aesthetic in her experimentation with the fast tale shape.
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Additional info for Katherine Mansfield and the Modernist Marketplace: At the Mercy of the Public
15 If attention is instead placed on the formal techniques employed in Mansfield’s story, a different picture emerges. Dream sequences are common to both stories, but Mansfield employs the dream in a different way that helps to demonstrate her efforts at making Chekhov’s story her own. Chekhov’s protagonist spends the first third or so of the narrative drifting in and out of consciousness, succumbing to a dream landscape that remains anchored in the real world by the cries of the baby: The green spot and the shadows move about, they pass into the half-open, motionless eyes of Varka, and in her half-awakened brain blend in misty images.
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-13 32 the birth of Binzer’s son rather than Beauchamp’s third daughter). 57 This might be seen as further evidence of Mansfield’s developing status in the New Age as a writer of German life that had begun with ‘The Child-Who-Was-Tired’ (which actually first appeared as ‘Bavarian Babies: The Child-Who-WasTired’) and was honed and polished in the ‘Pension Sketches’. Indeed, the ‘Pension Sketches’ and In a German Pension even echo the genteel title of the extremely popular Elizabeth and Her German Garden which was published anonymously in 1898.
But have you utterly forgotten what I told you of her behaviour in Paris – of the last time I saw her and how because I refused to stay the night with her she bawled at me and called me a femme publique in front of those filthy Frenchmen? 76 Mansfield’s account of the way in which Hastings had ‘insulted and abused’ her has not survived. 77 The ‘letter’ purports to be the product of a Sunday afternoon in Ditchling-on-Sea, where the two writers, finding themselves without reading material, ‘were driven to rely upon memories of our favourite authors’.
Katherine Mansfield and the Modernist Marketplace: At the Mercy of the Public by J. McDonnell