John Lehmann

One of the outstanding editors of this century, John Lehmann founded New Writing and London Magazine as well as other literary journals. He also wrote poems, two novels and a distinguished literary autobiography. All aspects of Lehmann's work are discussed in this book of recollections and essays of friends, critics and other writers.

Located in a world wrestling with new concepts of what it means to be modern, this book forms a penetrating analysis of a mid-twentieth century English woman novelist, whose genius was compared to Tolstoy. Rosamond Lehmann's first book, Dusty Answer (1927), with its scandalous subject matter, made her a literary celebrity at the age of twenty-seven. Seen as the voice of a new generation, she became the centre of an artistic circle that included W.H. Auden, Stephen Spender and Elizabeth Bowen. Lehmann's novels deal with the urgency of romance and the vicissitudes of young women in love, and depict the emotional rollercoaster of romance and the tortuous process of growing up more directly than any writer before her. This book locates Lehmann's fictional achievement in the context of her times and in particular describes its positioning within the turbulent period between two world wars and the changing aesthetic of modernity. It includes a penetrating critical analysis of each of the major works, drawing on previously unpublished private papers, including letters to family and friends. In this it provides fresh and original insights into one of the most celebrated English novelists of her age.

The life of Rosamond Lehmann was as romantic and harrowing as that of any of her fictional heroines. Her first novel, the shocking Dusty Answer, became wildly successful launching her career as a novelist and, just as her novels depicted the tempestuous lives of her heroines, Rosamond's personal life would be full of heartbreaking affairs and lost loves. Escaping from a disastrous early marriage Rosamond moved right into the heart of Bloomsbury society with Wogan Philipps. Later on she would embark on the most important love affair of her life, with the poet Cecil Day Lewis; nine years later he abandoned her for a young actress - a betrayal from which she would never recover. Selina Hastings masterfully creates a portrait of a woman whose dramatic life, work and relationships criss-crossed the cultural, literary and political landscape of England in the middle of the twentieth century.

Woolf Editing / Editing Woolf focuses on Woolf as editor both of her own work and of the Hogarth Press, and on editing Woolf—on the conflation of textual and theoretical criticism of Woolf’s oeuvre. Since many contributors are editors, creative writers, and critics, contributions highlight the intersections of those three roles. The essays variously addressed the “granite” of close textual reading and the “rainbow” of theoretical approaches to Woolf’s writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver’s contribution in memory of Julia Briggs opens the volume, and James Haule’s contribution concludes it.

This study of contemporary and later critical responses to the work of the novelist Rosamond Lehmann (1901-1990) offers an original approach to twentieth-century literary history by foregrounding the cultural and commercial fields in which Lehmann's writing was situated. Wendy Pollard examines the effect recent developments in literary theory and movements from modernism to feminism have had on Lehmann's literary reception. She also considers the interpolation of a damning third category between te and popular culture, namely middlebrow; a widening gender divide in readership; controversies within book reviewing; changes in the publishing world; and the introduction of popularist means of book marketing. While considering the general privileging of male authors from the 1920s to the 1950s, Lehmann's most prolific period, Pollard argues that her novels have been unfairly subjected to specific forms of neglect, and their exclusion from many academic comparative studies is due to a diversity of form and content that can also be considered their strength.

The first volume of David Plante's extraordinary diaries of a life lived among the artistic elite, both a deeply personal memoir and a hugely significant document of cultural history