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Katherine Mansfield

Kathleen Mansfield Murry (née Beauchamp) was a prominent New Zealand modernist writer of short fiction who wrote under the pen name of Katherine Mansfield.

Katherine Mansfield is widely considered one of the best short story writers of her period. A number of her works, including "Miss Brill", "Prelude", "The Garden Party", "The Doll's House", and later works such as "The Fly", are frequently collected in short story anthologies. Mansfield also proved ahead of her time in her adoration of Russian playwright and short story writer Anton Chekhov, and incorporated some of his themes and techniques into her writing.

Katherine Mansfield was part of a "new dawn" in English literature with T.S. Eliot, James Joyce and Virginia Woolf. She was associated with the brilliant group of writers who made the London of the period the centre of the literary world.

Nevertheless, Mansfield was a New Zealand writer - she could not have written as she did had she not gone to live in England and France, but she could not have done her best work if she had not had firm roots in her native land. She used her memories in her writing from the beginning, people, the places, even the colloquial speech of the country form the fabric of much of her best work.

Mansfield's stories were the first of significance in English to be written without a conventional plot. Supplanting the strictly structured plots of her predecessors in the genre (Edgar Allan Poe, Rudyard Kipling, H. G. Wells), Mansfield concentrated on one moment, a crisis or a turning point, rather than on a sequence of events. The plot is secondary to mood and characters. The stories are innovative in many other ways. They feature simple things - a doll's house or a charwoman. Her imagery, frequently from nature, flowers, wind and colours, set the scene with which readers can identify easily.

Themes too are universal: human isolation, the questioning of traditional roles of men and women in society, the conflict between love and disillusionment, idealism and reality, beauty and ugliness, joy and suffering, and the inevitability of these paradoxes. Oblique narration (influenced by Chekhov but certainly developed by Mansfield) includes the use of symbolism - the doll's house lamp, the fly, the pear tree - hinting at the hidden layers of meaning. Suggestion and implication replace direct detail.


“Why does one feel so different at night? Why is it so exciting to be awake when everybody else is asleep? Late—it is very late! And yet every moment you feel more and more wakeful, as though you were slowly, almost with every breath, waking up into a new, wonderful, far more thrilling and exciting world than the daylight one. And what is this queer sensation that you’re a conspirator? Lightly, stealthily you move about your room. You take something off the dressing-table and put it down again without a sound. And everything, even the bedpost, knows you, responds, shares your secret…You're not very fond of your room by day. You never think about it. You're in and out, the door opens and slams, the cupboard creaks. You sit down on the side of your bed, change your shoes and dash out again. A dive down to the glass, two pins in your hair, powder your nose and off again. But now–it's suddenly dear to you. It's a darling little funny room. It's yours. Oh, what a joy it is to own things! Mine–my own!”
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“I’d love to tearfully absorb you in every way and I’d love to play with your hair, read your eyes, feel disarmed in your presence. I’d love to experience a seizure of full-silenced tenderness with you and at the same time dwell on your Dionysian idiosyncrasy of red, slightly heated wine, constant passion and chaos; How can I even imprison this desire into mere letters structured together in order to form a coherent meaning? There is no meaning. Darling! Darling! You can flash “meaning” down the toilet if you wish. Still, I’d love to share a life full of richness with you: Richness not in terms of events, incidents, facts or experiences; but richness in terms of a colourful, adventurous, enthusiastically unraveling life. I’d love to lose all privileges of existence as long as I might have a small chance of walking on water with you.”
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“It is of immense importance to learn to laugh at ourselves.”
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“You are a Queen. Let mine be the joy of giving you your kingdom.”
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“Ah, what happiness it is to be with people who are all happy, to press hands, press cheeks, smile into eyes.”
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“In the forest, in the forest, silence had cast a spell over all things. She plucked a great bouquet of daffodils and snowdrops, and tenderly held them to her, and tenderly kissed their fresh spring faces. She did not sing at all, but sat silent, expectant, and wondering, till her flowers faded and withered in her hands.”
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“When we reached home your cheeks were like roses, and your eyes were shining like stars, and you tried to tell Mummy so much in one breath that I thought you would burst.”
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“The next morning, very early, you and I went to the old pine-tree. Your little legs were going along so fast that it made me quite dizzy to look at them. Long before we came to the place I had to carry you - you had such a terrible stitch! At last we caught sight of him. His branches were all waving and his head was high in the air. When he saw us he bowed most graciously, but very proudly. I stole along ever so quietly with you in my arms, and, sure enough, there were the sparrows sitting in the branches. They did not seem at all shy, and how glad we both were. The old pine-tree looked just like you do when you have had a cold bath and Mummy has put you in a clean starched frock, and a petticoat that sticks out all round. You look as though you never made mud pies in your life and would rather die than tread in the puddles.”
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“I should like to have friends, I confess. I do not suppose I ever shall. But there have been moments when I have realized what friendship might be. Rare moments - but never forgotten. Friendship is a binding, as solemn as marriage. We take each other for life, through everything - forever. But it’s not enough to say we will do it. I think, myself, it is pride which makes friendship most difficult. To submit, to bow down to the other is not easy, but it must be done if one is to really understand the being of the other. Friendship isn’t merging. One doesn’t thereupon become a shadow and one remain a substance. Yet, it is terribly solemn - frightening, even.”
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“E. M. Forster never gets any further than warming the teapot. He's a rare fine hand at that. Feel this teapot. Is it not beautifully warm? Yes, but there ain't going to be no tea.”
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“The whole world shall be ours because of our love.”
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“You have never been curious about me; you never wanted to explore my soul.”
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“She had become really quite expert, she thought, at listening as though she didn't listen, at sitting in other people's lives just for a minute while they talked round her.”
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“He would sit very still on the doorstepAnd dream--O, that he had a friend!Somebody to come when he called them,Somebody to catch by the hand,Somebody to sleep with at night time,Somebody who'd quite understand.”
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“Shadow children, thin and small,Now the day is left behind,You are dancing on the wall,On the curtains, on the blind.”
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“Love! Love! Your tenderness,Your beautiful, watchful ways”
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“We might be fifty, we might be five,So snug, so compact, so wise are we!Under the kitchen-table legMy knee is pressing against his knee.”
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“Light as feathers the witches fly,The horn of the moon is plain to see;By a firefly under a jonquil flowerA goblin toasts a bumble-bee.”
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“Outside the sky is light with stars”
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“Risk! Risk anything! Care no more for the opinions of others, for those voices. Do the hardest thing on earth for you. Act for yourself. Face the truth.”
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“Il piacere di leggere è doppio quando si vive con qualcuno che divide con te gli stessi libri.”
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“The truth is that every true admirer of the novels cherishes the happy thought that he alone - reading between the lines - has become the secret friend of their author.”
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“Isn't life,' she stammered, 'isn't life--' But what life was she couldn't explain. No matter. He quite understood.'Isn't it, darling?' said Laurie.”
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“I am poor - obscure - just eighteen years of age - with a rapacious appetite for everything and principles as light as my purse.”
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“... but that is the satisfaction of writing - one can impersonate so many people.”
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“The most thrilling day of the year, the first real day of Spring had enclosed its warm delicious beauty even to London eyes. It had put a spangle in every colour and a new tone in every voice, and city folks walked as though they carried real bodies under their clothes with real live hearts pumping the still blood through.”
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“Don’t you think the stairs are a good place for reading letters? I do. One is somehow suspended. One is on neutral ground - not in one’s own world nor in a strange one. They are an almost perfect meeting place. Oh Heavens! How stairs do fascinate me when I think of it. Waiting for people - sitting on strange stairs - hearing steps far above, watching the light playing by itself - hearing - far below a door, looking down into a kind of dim brightness, watching someone come up. But I could go on forever. Must put them in a story though! People come out of themselves on stairs - they issue forth, unprotected.”
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“To be alive and to be a ‘writer’ is enough.”
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“I'm a writer first and a woman after.”
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“How beautiful she loked, but there was nobody to see, nobody.”
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“... always with that magical child air about her, that delightful sense of perpetually attending a party.”
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“... I find in all the works of the greatest writers, especially in their unedited letters, some touch, some sign of myself - some resemblance, some part of myself, like a thousand reflections of my own hands in a dark mirror.”
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“Oh,' said the little girl, 'my head's on your heart; I can hear it going. What a big heart you've got, father dear.”
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“But, my darling, if you love me,' thought Miss Meadows, 'I don't mind how much it is. Love me as little as you like.”
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“It is the only life I care about—to write, to go out occasionally and ‘lose myself’ looking and hearing and then to come back and write again. At any rate that’s the life I’ve chosen.”
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“I think of you often. Especially in the evenings, when I am on the balcony and it’s too dark to write or to do anything but wait for the stars. A time I love. One feels half disembodied, sitting like a shadow at the door of one’s being while the dark tide rises. Then comes the moon, marvellously serene, and small stars, very merry for some reason of their own. It is so easy to forget, in a worldly life, to attend to these miracles.”
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“The late evening is the time of times. Then with that unearthly beauty before one it is not hard to realise how far one has to go. To write something that will be worthy of that rising moon, that pale light.”
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“I love this place; I love mountains and big skies and forests. And the weather is still supremely beautiful even though the lower peaks are powdered with fresh snow. But Heavens! What sun. It never has an ending. I am basking at this minute - half past four - too hot without a hat, & the sky is that transparent blue only to be seen in autumn - the forest trees steeped in light.”
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“... A wet night. They are going home together under an umbrella. They stop on the door to press their wet cheeks together.”
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“Regret is an appalling waste of energy, and no one who intends to be a writer can afford to indulge in it.”
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“And the two women stood side by side looking at the slender, flowering tree. Although it was so still it seemed, like the flame of a candle, to stretch up, to point, to quiver in the bright air, to grow taller and taller as they gazed - almost to touch the rim of the round, silver moon. How long did they stand there? Both, as it were, caught in that circle of unearthly light, understanding each other perfectly, creatures of another world, and wondering what they were to do in this one with all this blissful treasure that burned in their bosoms and dropped, in silver flowers, from their hair and hands?”
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“Although Bertha Young was thirty she still had moments like this when she wanted to run instead of walk, to take dancing steps on and off the pavement, to bowl a hoop, to throw something up in the air and catch it again, or to stand still and laugh at - nothing - at nothing, simply. What can you do if you are thirty and, turning the corner of your own street, you are overcome, suddenly by a feeling of bliss - absolute bliss! - as though you'd suddenly swallowed a bright piece of that late afternoon sun and it burned in your bosom, sending out a little shower of sparks into every particle, into every finger and toe?”
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“Everything in life that we really accept undergoes a change. So suffering must become Love. That is the mystery.”
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“To acknowledge the presence of fear is to give birth to failure.”
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“The lights, the azaleas, the dresses, the pink faces, the velvet chairs, all became one beautiful flying wheel.”
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“When she looked through the dark windows at the stars, they had long beams like wings...”
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“Oh, how quickly things changed! Why didn't happiness last for ever? For ever wasn't a bit too long.”
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“It seemed to her that she had never known what the night was like before. Up till now it had been dark, silent, beautiful very often - oh yes - but mournful somehow. Solemn. And now it would never be like that again - it had opened dazzling bright.”
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“Leila was sure ifhe partner didn't come and she had to listen to that marvellous music and to watch the others sliding, gliding over the golden floor, she would die at least, or faint, or lift her arms and fly out of one of those dark windows that showed the stars.”
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“Dark girls, fair girls were patting their hair, tying ribbons again, tucking handkerchiefs down the fronts of their bodices, smoothing marble-white gloves. And because they were all laughing it seemed to Leila that they were all lovely.”
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