ISSN 2040-2597 (Online)
NEWSLETTER
Issue 5
April 2010
Inside:
KMS News and
Competition Results
Page 2
‘Peacock’s Day’ by
Quentin Furlong
Page 3-5
‘At Katherine’s Bay’
by Maggie RaineySmith
Page 6
‘Something Childish
but Very Natural’ by
Gary Abrahams
Page 7-10
‘Katherine Mansfield,
the Underworld and
the Blooms Berries’
Page 11
Gerri Kimber speaks
at the Godolphin and
Latymer School
Page 12
Westonbirt lecture
Page 13
Book Announcements
Page 14-15
Conference
Announcements
Page 16
Luisa Hastings Edge as Mrs Dove in the 2006 London production of
Gary Abrahams’ Something Natural but Very Childish
Issue 5
April 2010
Page 2
KMS News
This issue is for the creative types among us. We feature a poem, ‘At Katherine’s Bay’, from KMS
member Maggie Rainey-Smith, a Wellington writer and kayaker (check out the photo of KM’s holiday home on page 6). We also bring you two articles by artists who are reworking KM’s stories in
new ways. Filmmaker Quentin Furlong discusses her new short film ‘Peacock’s Day’, adapted from
the story ‘Reginald Peacock’s Day’, set and shot in Dunedin and due for release in 2011. She has
promised to keep those of us not fortunate enough to be there posted about a possible DVD release.
Actor and theatre director Gary Abrahams also discusses the artistic processes that went into his play
‘Something Childish but Very Natural’ to be performed at La Mama theatre in Melbourne next
month. La Mama is offering a discounted ticket price for KMS members (details are on page 10).
Next month also brings the ‘Katherine Mansfield, the ‘Underworld’ and the ‘Blooms Berries’’ Symposium at RMIT University in Melbourne. Our own Honorary President Vincent O’Sullivan will be
giving a keynote address, and KMS members Susannah Fullerton and Penelope Jackson will give
feature presentations on Mansfield’s life and works, and portraits of KM. Registration is now open
and details are on page 11. The Symposium could be a great way to introduce a friend to KM.
Inside you will also find two reports of lectures given by our Chair, Gerri Kimber, and an announcement of the impending publication of Katherine Mansfield and the Modernist Marketplace: At the
Mercy of the Public by our very own Jenny McDonnell (congratulations Jenny!).
Happy reading for the next few months and we look forward to bringing you news of the Symposium
in September.
Sarah Ailwood and Jenny McDonnell, Joint Editors of the Katherine Mansfield Society Newsletter
STOP PRESS!
KMS members in New Zealand and Australia can help generate revenue for the KMS by using
Fishpond.co.nz – New Zealand’s biggest on-line store – for all book, DVD and music purchases. 10% of
your purchase price will be donated to the KMS.
Please use the following link: http://www.fishpond.co.nz/index.php?ref=2186&affiliate_banner_id=38
Alternatively, go to the ‘Support us’ page of the KMS website:
http://www.katherinemansfieldsociety.org/support-us/
and click on the ‘fishpond logo’.
NB: only these methods will activate our affiliation link and generate revenue for the Society.
Keep this info handy near your computer, and remember – before ordering anything from Fishpond –
think KMS and go to our link!!
Competition results
In our last issue we invited members to tell us where they find Katherine Mansfield—to go into a
draw to win a copy of Susannah Fullerton’s CD Finding Katherine Mansfield. Our winning entry
was received from Melissa Reimer:
‘For me Katherine Mansfield is in "the people – and at night from the top of the tram – the lighted interiors of
houses – you know the effect – people gathered round a lamp lighted table – a little, homely café – a laundry –
a china shop – or at the corners the old chestnut sellers" (CL1:77-78), KM to Garnett Trowell, 24 October
1908, from Paris’.
Congratulations Melissa—a copy of Susannah’s wonderful CD is in the post.
Published by the Katherine Mansfield Society, Stroud, England
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April 2010
Page 3
Peacock’s Day
By Quentin Furlong
Last month I received a call from KMS member Judy Wilson in Auckland, who had tracked
me down in Dunedin after hearing about my new film, Peacock’s Day. She in turn had been
alerted to the film by Gerri Kimber in London. This was my introduction to the Katherine
Mansfield Society, and I was quite impressed with the Society’s sleuthing capabilities – or as
Judy said, “Our spies are everywhere!”
The Countess (Goeknil Meryem Biner), Mr. Peacock (Robert Tucker) and Betty (Aislinn Furlong)
© PicturesQue Films
Peacock’s Day is a short film adaptation of Katherine Mansfield’s 1917 story, ‘Mr. Reginald
Peacock’s Day’. As those familiar with the story will recall, Mr. Peacock is a gifted but
pompous singer and music teacher who has difficulty reconciling life’s daily realities
(marriage, a child and the drudgery of household routine) with his artistic sensibilities
(public acclaim and the doting admiration of his female students and fans).
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April 2010
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As a friend of mine (a KM devotee) said only half jokingly, “This is one of KM’s few nondepressing stories.” It is a delightful and entertaining story but often seems to be interpreted
with a broad brush and with Mr. Peacock made a caricature. I believe Katherine Mansfield
crafted this story more subtly and that she achieved a certain poignancy with her characters,
perhaps reflecting her own experience as an artist in facing the “sordid details of existence”
as Mr. Peacock calls them.
It has been theorized that KM based aspects of the character of Mr. Peacock on George
Bowden, who was a professional singer. In Katherine Mansfield’s Men: Perspectives from
the Katherine Mansfield Lecture Series (ed. Charles Ferrall and Jane Stafford, publ. by the
Katherine Mansfield Birthplace Society, Wellington, 2005) John Middleton Murry is quoted
as describing Bowden as “The gentleman artist with the bedside manner of the type afterwards depicted in ‘Mr. Reginald Peacock’s Day.’”
Aenone Fell (Terry MacTavish), Mr. Peacock (Robert Tucker) and Lord Timbuck (Dave Hunt)
© PicturesQue Films
My concept for the film was to reset Katherine Mansfield’s story in her homeland, giving it a
distinctive New Zealand stamp, through the locations, music and artists chosen. The story
lends itself beautifully to a 1918-1920s Dunedin setting. (Dunedin is a vibrant university city
in the South Island of New Zealand with a rich cultural heritage.) Several Dunedin architectural jewels were selected for the interior scenes of the film.
I wanted to emphasize the musical elements to the story and decided to give the film an operatic twist. Opera singers Robert Tucker (who is currently based in the UK and has just
completed a tour with Scottish Opera) and Anna Leese (now in Belgium performing the role
of Tatyana in Eugene Onegin for Vlaamse Opera), both formerly from Dunedin, were back
in New Zealand in December, performing in various Messiah’s, and we were able to schedule filming in a narrow time frame just before Christmas. Composer Anthony Ritchie and
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April 2010
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pianist Tom McGrath, and soprano Goeknil Meryem Biner rounded out our array of talented
professionals.
Marian (Anna Leese) and Mr. Peacock (Robert Tucker)
© PicturesQue Films
In the course of one day, Mr. Peacock (Robert Tucker) interacts with his family as he conducts lessons with each of three students, the shy ingénue Betty Brickle (Aislinn Furlong),
the dramatic and eccentric Countess (Goeknil Meryem Biner) and the sentimental diva, Miss
Marian Morrow (Anna Leese). Each lesson is an opportunity to feature the musicality of the
talented cast. The character of a devoted fan, Aenone Fell (Terry MacTavish), is subtly
woven into the tapestry of the day and serves as a further magnet, pulling Mr. Peacock away
from his wife (Emma Fraser) and son (Josh Meikle).
Not intended as a “museum piece”, Peacock’s Day gives the essential Mansfield elements a
fresh and contemporary treatment while still retaining classical period details. The film is a
duet of drama and comedy with the action driven by the artistry of music.
The film is currently in post-production and will soon be submitted to film festivals internationally. It will be publicly screened in Dunedin in 2011, and (depending on distribution possibilities) will also be made available overseas. We intend to produce a DVD and will keep
the KMS updated.
Quentin (Quenne) Furlong, originally from the United States, has lived in New Zealand for almost five years.
She is a professional photographer and filmmaker and the founder of PicturesQue Films Trust, a recently
formed trust dedicated to the production of quality art films with an emphasis on literature and music. Please
feel free to contact her at the following e-mail address: [email protected]
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April 2010
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At Katherine’s Bay
Water washes over the road
at Eastbourne while
latte spume licks the heels of
city jeeps. The southerly lifts sand
and little blue penguins invade
the investment, once were holiday homes
where Katherine stayed and Stanley Burnell’s
children played their part,
native bush and real estate collide
in Sunday kaleidoscope sunshine.
Jonathan Trout isn’t shouting out
from the waves nowadays
he sits instead, in the shelter of the boatshed
and watches Stanley catch the ferry.
Linda feasts on eggs florentine
and Beryl’s no longer afraid
the Kembers’ brittle laughter
can be heard over barbecues
and in the bush, if you listen carefully
from somewhere in the shadows
you can hear Jonathan saying,
It’s all wrong, it’s all wrong.
Maggie Rainey-Smith
Biography:
Maggie Rainey-Smith kayaking in front of KM’s holiday home at
Days Bay
I am a local Wellington writer who fell into KM
fever as an adult student returning to university to
complete a BA (English Literature). It is my good
fortune to live in Days Bay and to look out over to
the house where Katherine holidayed with her family. On the wall in my writing study, is a New Zealand Book Council poster charting the life of KM
and a picture of her is my screen saver on my computer. My email address is [email protected].
My poem is a response to KM’s story “At the Bay”.
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April 2010
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‘SOMETHING NATURAL BUT VERY CHILDISH’
Exploring the short stories of Katherine Mansfield for the stage.
By Gary Abrahams
I first encountered Katherine Mansfield’s work when I was nineteen years old and had just
moved to Melbourne from Johannesburg in order to begin a three-year actor’s training
course at The Victorian College of the Arts. A distant cousin had given me a pocket-sized
anthology of some of her stories as a parting gift. I’ve since misplaced the book (as happens
all too often when you have a tendency to move houses, cities and countries quite frequently) but if I recall correctly the tiny volume contained the stories ‘The Daughters of the
Late Colonel’, ‘Bliss’, ‘The Garden Party; and ‘The Escape’. My initial response to her work
was one of delight. My young mind was instantly amused at the precise and affectionate renderings of her characters. To this day ‘The Daughters of the Late Colonel’ remains one of
my favourite of her works. The finicky, anxious, suspicious and bewildered nature of the two
spinsters never fails to amuse me. For some unknown reason I seem to completely understand them, to know them and love in them their eccentric peculiarities. In fact, it is often
this that attracts me to her writing; her unerring ability to drop the reader into the centre of a
character and keep us there for a few moments, only a few – just long enough for the story to
be told – to keep us so firmly and clearly in the centre of a character that for a few pages we
see the world through their eyes, so clearly, so precisely, and through them we notice the teacup, the cake, the flower, the button hole, the pear tree, the little light in a doll’s house –
whatever it is that must be noticed – and a revelation occurs to us and to the character and
together we know that something has happened, some unexplainable “thing” has occurred
that will change everything after. Or at least that is how it seems to me.
Liam Bewley and Luisa Hastings Edge—Mr and Mrs Dove
A few years later I stumbled
across a much larger anthology of her writing, The Collected Stories published in
2001 by Penguin Books, and
immediately bought it. The
discovery came at a very
particular time; I was heartbroken in that way that only
a young person in their early
twenties can be and I wanted
to do nothing more than
mope around and stay indoors reading. Upon devouring the anthology I was immediately struck by her preoccupation with love and her
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own exploration into the nature of the fantasy of love present throughout so many of her stories. I also became enamoured with so many of her characters and the wonderful way she has
of describing them from the inside out. Reading her work I seldom feel as if I am meeting a
character from an objective stance and having said character described to me by the author.
Rather, as I read, I feel as if I am dropped into the character, deep inside them and I am made
to feel them first, feel as ‘they’ feel, feel their feelings, feel their thoughts, feel their hope,
and love, and fear and anxiety. All this ‘feeling’ – it undoubtedly appealed to the actor inside
of me. And it also made me feel as if I knew the writer, intimately. And this was a great
comfort. Because here, finally, was someone who thought as I thought, who felt as I felt and
understood the world as I did. Or so it seemed to my indulgent, melancholic self.
I became an avid fan and carried the anthology with me always. In fact it is one of my most
treasured books. I read from it frequently and never fail to be literally startled at some of her
turns of phrase and descriptions – sentences whose words hang together like jewels on a
necklace. I find her writing genuinely funny and utterly endearing, and of course, very, very
clever. As I grow older and keep returning to the work I uncover deeper and deeper layers of
psychological complexity within the relationships and stories and I still find her writing to be
a great comfort to me, particularly in periods where I feel as if all the poetic and beautiful
things have been bulldozed out of existence.
I began toying with the idea of working with
her work theatrically many years ago, probably in around 2003. Even though I worked
predominantly as an actor I still dabbled in a
little bit of writing. I have always been fascinated by the idea of adaptation and the notion
of metamorphosing one type of artwork into
another, and I initially just wanted to look at
the story ‘Something Childish but very Natural’. I was very preoccupied with the notion
of love and love’s bitter disappointments and
the fatalistic idea of love I had at that point,
Evie Dawnay and Tom McLane—The Blaze
and the story of Henry and Edna seemed to
encapsulate so much the childish fantasy of love I was trying to understand in myself. But as
I began to draft my adaptation other ideas started to suggest themselves. There seemed to me
to be so many of her stories that explored similar themes from a variety of angles and I began to examine all the stories in earnest, searching for narratives, characters and moments
that dealt with the fantasy of love. My initial idea began to morph as I kept uncovering
phrases and moments from so many stories that I wanted to use. The initial phase was like
putting together a thematic puzzle, finding ways in which I might make the stories weave
together and intertwine with each other. I toyed with the ideas of lifting characters from certain stories and placing them in others, I examined which characters shared similarities with
others, how I might construct alternate narratives by piecing together separate stories and if
there were paragraphs of speech that could be borrowed by characters without it feeling
clumsy. At first all this was really just a hobby, a way for me to occupy my time while my
heart mended. I didn’t truly have any great aspirations for the work or myself as a theatre
maker at that point. It wasn’t until a few years later while I was living in London that I first
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showed the work to anyone, and their response is ultimately what has brought me here now,
to the upcoming season at La Mama.
A version of the work was first produced (by the artists involved) at The Hen and Chicken
Theatre in Islington in 2006. It is a tiny independent theatre located in a loft up one hundred
dingy stairs. It was a wonderful experience; my first full length play as writer and director (I
had written short plays before that and had several monologues of mine commissioned by
The London Institute of Contemporary Art for a series of performances). That version of the
work was very young, as was I, but it did receive a very warm reception and rave reviews. I
had woven some of my own writing into the narrative and ultimately created a piece that
used her writing to tell the story of three pairs of would-be lovers in London in 1910 and my
own writing to juxtapose this with a story of a heartbroken man in contemporary London.
The work as a whole struck a chord with an audience and I feel in a way I did a fair job in
remaining faithful to her writing, her style and her characters. Henry and Edna remained as
the central characters, but other works that were looked at included ‘Mr and Mrs Dove’, ‘A
Dill Pickle’ and ‘The Escape’.
I returned to Melbourne in 2007 to undertake a postgraduate degree in Theatre Making at the VCA, followed by my Masters in Writing and Directing, specialising in the art of adaptation. My Masters work
was an adaptation of the James Baldwin novella Giovanni’s Room. The resulting play, entitled “Acts of
Deceit Between Strangers in a Room” enjoyed a very
successful season at La Mama earlier this year. It was
while doing this that I approached Liz Jones (the artistic director of La Mama Theatre) about my Katherine Mansfield show. As fate would have it a slot
opened up at the theatre to coincide with the symposium being held at RMIT and the next stage in this
work began. It was never my intention to restage the
London version of the show. Rather, I wanted to return to the original source material and re-examine
how I could work with it theatrically, utilising all I
had learned while completing my Master studies. Returning to her stories with a more mature mind and
understanding of theatrical practice opened up a
whole range of possibilities. I began to pay more atNina Fry and Henry Doulton—Henry and Edna
tention to her exquisite descriptions of gesture and the
acute physicality of characters, and to search for ways of balancing the youthfulness of
‘Something Childish but very Natural’ with more adult perspectives on love that occur in
other stories. I have also chosen to do away with the contemporary character and my own
writing.
The ensemble and I are in the midst of creating the show now and as yet have no clear vision
of exactly what the result might be. It is of course terrifying, but also liberating. What fascinates me about working in this way is the meeting of artistic minds to wrestle with grand
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themes and notions about love, life and the chronic dissatisfaction that plagues us all. The act
of adaptation requires me to wrestle with Katherine Mansfield and examine where our fascinations and obsessions meet and where they differ. As an artist I need to find where I can use
her work to explore my own ideas, and how to use her writing as a platform for the acting
ensemble to wrestle with their own ideas and concepts about the fantasy of love. The result
can only be an intimate collaboration; a collaboration between Ms Mansfield as a writer, myself as a theatre maker and the ensemble as physical performers who will attempt to embody
her characters. I have chosen to title the work “Something Natural but very Childish”, a play
on her title for the story of Henry and Edna, and a title which I intend to hint at the overall
tone of our work and the discoveries we are making.
To make a new work of theatre has to be a personal experience, and in the case of adaptation
it can only be born from a very personal attachment to the work. I love her writing as much
now as I ever did, and I look forward to showing the work to her existing fans as much as to
introducing her to audiences that may not yet be familiar with her writing. Whatever the result of this creative process I am certain that her spirit will come through strong, and it has
been a joy to have the opportunity to return to the wonderful worlds she has created.
SOMETHING NATURAL, BUT VERY CHILDISH
Written & directed by Gary Abrahams
Original Music Composed by Alison Beckett
(a dirty pretty theatre production)
“I wish I had taken poison and were about to die.”
“Why do you say that? You should never say that.”
“Because I know I am going to love you too much – far too much.
And I shall suffer so terribly, because you never, never will love me.”
La Mama Theatre—25 Faraday Street, Carlton
Opening Wed June 2, running till June 20; Tues, Wed & Sun 6.30p.m; Thurs-Sat 8p.m
$25 full/$15 concession and KM Society Members
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The Godolphin and Latymer School, London
11th February 2010
Sixth form girls at Godolphin and Latymer School, with KMS member Lesley Sharpe
Some of our lucky LVI girls who have been studying Katherine Mansfield for their AS level coursework enjoyed a lecture and PowerPoint presentation specially prepared for them by Gerri Kimber.
Gerri was, of course, a brilliant speaker, and the 48 slides brought everything to life even more fully
for the girls.
Some of their thoughts on the morning…
‘Thank you so much… it was very useful and interesting. What struck me was that her stories
were so autobiographical and that even the characters names were so similar. And what I hadn’t really
thought about before was the way the aloe was a sexual symbol for Linda as well as a symbol of escape, which
is another interesting idea that could be explored in terms of the plant’s connection with the female consciousness throughout these stories.’ Bella Pringle
‘I really enjoyed the talk and found it a really interesting insight into the life and works of Katherine Mansfield
(especially ‘Prelude’ and ‘At the Bay’). What I found most interesting was finding out the connections that the
characters in ‘Prelude’ and ‘At the Bay’ had with Katherine Mansfield’s real-life family; I knew that there
were some links, however I did not realise that it was to such a great extent.’ Natasha Hachem
‘Thank you so much…I found it really useful, especially in terms of learning about the effect that Mansfield’s
life and surroundings had on her writing. I had no idea how autobiographical her stories actually are! Also I
was really interested in hearing about the structure of Mansfield’s writing and the devices she used in her short
stories.’ Josie Sacks
Gerri herself said that ‘it was a real pleasure to have such an engaged audience, and to have the opportunity of
extending the girls’ knowledge and interest in Katherine Mansfield. Part of the remit of the Society is to create
an educational strategy to foster an appreciation and understanding of Mansfield and to ensure her place on
school curricula’, a project which is well underway!
Lesley Sharpe
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April 2010
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Report on Public Lecture by Gerri Kimber
at Westonbirt School
On Friday 12th March, Gerri Kimber was the invited speaker for a public lecture at Westonbirt School, Gloucestershire. The lecture attracted a full hall of members of the public whilst
pupils from the school filled the gallery. Janet Wilson, Kevin Ireland, Janine RenshawBeauchamp and Delia da Sousa Correa were in attendance to represent the Katherine Mansfield Society.
Janine Renshaw-Beauchamp, Delia da Sousa
Correa, Janet Wilson, Gerri Kimber
Gerri Kimber with Lord Moyne (Jonathan
Guinness, son of Diana Mitford)
Gerri’s lecture was a vivacious overview of Mansfield’s life and achievements, and discussed her association with other artists connected to Bloomsbury. It
was copiously illustrated with slides of Mansfield, the
artists and writers she knew, works by modernist artists
such as J. D. Fergusson and later illustrators of Mansfield’s work. Gerri wound up with readings from ‘At
the Bay’ and ‘The Life of Ma Parker’
The audience’s enjoyment of Gerri’s lecture and absorbed attention during her readings from Mansfield
were palpable and questions included a thoughtful
query from the gallery about whether Mansfield was a
feminist. Westonbirt pupils will have been inspired to
read Mansfield and the lecture, together with Gerri’s
previous lecture for pupils Godolphin and Latimer
school in London, looks ahead to the KMS’s planned
campaign to promote the study of Mansfield’s writing Janine Renshaw-Beauchamp and Gerri
Kimber pictured with KM’s dress
in secondary schools.
Photo by Kevin Ireland
The event was a great success in itself and a retiring collection raised much needed funds for
our still-new Katherine Mansfield Society. Well done Gerri and Thank You!
Delia da Sousa Correa
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Book announcements
Diary Poetics: Form and Style in Writers’ Diaries,
1915-1962
Anna Jackson (London: Routledge, 2010)
ISBN: 978-0415998314, 186 pages
Release date: April 2010
The diary is a genre that is often thought of as virtually formless, a “capacious hold-all” for the
writer’s thoughts, and as offering unmediated access to the diarist’s true self. Focusing on the diaries
of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath,
this book looks at how six very different professional writers have approached the diary form with its
particular demands and literary potential. As a sequence of separate entries the diary is made up of
both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form
has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show
how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all
diaries are constructed, and all diary constructions depend on how the writer works with the diary
form.
Katherine Mansfield and the Modernist
Marketplace: At the Mercy of the Public
Jenny McDonnell (Basingstoke: Palgrave Macmillan, 2010)
ISBN: 978-0230234796, 232 pages
Release date: July 2010
Katherine Mansfield and the Modernist Marketplace provides the first comprehensive study of
Mansfield’s career as a professional writer in a commercial literary world, during the years that saw
the emergence and consolidation of literary modernism in Britain. It draws on recent critical trends in
the field of material modernist studies to posit a new reading of her stories and their location within a
modernist marketplace. Mansfield’s association with periodicals such as the New Age, Rhythm and
the Athenaeum, and with the Hogarth Press, are illustrative of her use of key modes that aided the
development and dissemination of modernist texts between the years 1910 and 1922. At the same
time, she took increasing advantage of popular publishing in illustrated newspapers and magazines. The book argues that these publishing contexts shaped Mansfield’s development as a writer,
and presents a new interpretation of her stories’ enactment of a commercially viable modernist aesthetic.
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‘On or about December 1910
human character changed’
Centenary reflections and contemporary debates:
modernism and beyond
British Association of Modernist Studies Inaugural Conference
10th-12th December 2010. University of Glasgow, U.K.
[I]t would be impossible to live for a year without disaster unless one practiced characterreading and had some skill in the art. Our marriages, our friendships depend on it; our business largely depends on it; every day questions arise which can only be solved by its help.
And now I will hazard a second assertion, which is more disputable perhaps, to the effect
that on or about December, 1910, human character changed.
I am not saying that one went out, as one might into a garden, and there saw that a rose had
flowered, or that a hen had laid an egg. The change was not sudden and definite like that.
But a change there was, nevertheless; and, since one must be arbitrary, let us date it about
the year 1910. (Virginia Woolf, ‘Mr Bennett and Mrs Brown’, 1923)
This inaugural conference of the British Association of Modernist Studies and Scottish Network of Modernist Studies is based around Virginia Woolf’s famous and controversial statement in an essay of 1923, often taken as indicating a possible starting-point for modernity,
that ‘on or about December 1910, human character changed.’
Confirmed plenary speakers:
·
Professor Jean-Michel Rabaté (University of Pennsylvania)
·
Professor Susan Manning (University of Edinburgh)
·
Professor David Peters Corbett (University of York)
·
Introductory address: Professor Laura Marcus (University of Edinburgh)
For details visit http://www.bams.me.uk/?q=events/conferences/bams_2010
Australian Modernist Studies Network
The Australian Modernist Studies Network (AMSN) was established in July 2009 to support research activity in modernist studies throughout Australia.
The AMSN seeks to engage academics, postgraduate students and those outside the academy who
work in any of the various international denominations of modernism.
The Network’s website is now available at www.amsn.org.au, and contains information on Australian modernist studies events, calls for papers, links to Australian and international modernist studies
resources, and details of the research interests of the Network’s membership.
The Network is free to join and open to all scholars working in modernist studies. We invite any interested individuals to visit the website to submit their details.