Dorothy M. Richardson: An Annotated Bibliography of Writings About Her

12 DOROTHY M. RICHARDSON: AN ANNOTATED BIBLIOGRAPHY OF WRITINGS ABOUT HER By Gloria Glikin (Brooklyn Col lege) "According to Miriam," SATURDAY REVIEW (Lond), CXXIV (24 Nov 1917), ^22. Rev of HONEYCOMB. "Miss Richardson is not without talent but it is the talent of neurasthenia." Advises her to "learn that contrariety is not revelation and that health is cs essential to literature as to life." The "only living thing in the book" is the "morbid and self-conscious mind [of the heroine]." Aiken, Conrad. "Dorothy Richardson Pieces Cut The Stream of Consciousness of Her Pilgrim, Miriam Henderson," KEW YGRK EVZNiNG POST, 12 May 1928, Sec III, p. 9; rptd in A REVIEWER'S ABC: COLLECTED CRITICISM OF CONRAD AIKEN FROM 1916 TO THE PRESENT, introd Rufus A. Blanchard. NY: Meridian, [1958]. Pp. 329-31. Rev of OBERLAND. In reviewing OBZP1LAND as o "charming light interlude" in the series, discusses as well the v.hoie of PILGRIMAGE. Points out the historic importance of DMR and the "debt in technique and tone" owed to her by Joyce, Virginia Wcolf, May Sinclair, end Ford Madox Ford. Attempts to explain why she is so "curiously little known," and offers the following reasons: her "minute recording" v;hieIi ti re^ those who want action; her choice of a woman's mind as center; and her heroine's lack of "charm." Aldington, Richard. "The Approach to M. Marcel Proust," DIAL, LXIX (Oct 1920), 341-46. Essay on Proust. Mentions DMR (as well as Joyce and May Sinclair) as "merely" ant "impressionist" whose work lacks the "significance" of the French novelist's in spite of her "almost fabulous virtuosity." Aldrich, Earl A. "The Vista of the Stream," SATURDAY REVIEW OF LITERATURE (NY), IV (5 May 1928), 841. Rev of OBERLAND. Can see OBERLAND only as "intensely vivid" impressionism, not as a novel, for it lacks "plot," "characters," "setting," a "middle," and possibly an "end," Allen, Walter. THE ENGLISH NOVEL. Lond: Phoenix, 1954. Pp. 44, 412, 413, 41516 , 417-18, 428; index. Speaks of DMP> as one of the post-World War I novelists and the first "deliberately to employ the [stream of consciousness] technique." Although PILGRIMAGE is a "remarkable achievement," and the early vols are "enchantingly" fresh, the novel as a whole is formless, and the experience of the single central feminine character very limited in range. Baker, Ernest A. THE HISTORY OF THE ENGLISH NOVEL. 10 vols. NY: Barnes & Noble, I960 [1st pub Lond: Witherby, 1936], X, 356; index. Ref to the work of DMR, along with that of Joyce and Virginia V/oolf, as in the tradition of psychological analysis. Bates, E. Stuart. INSIDE OUTAN INTRODUCTION TO AUTOBIOGRAPHY. Oxford: Blackwell, I936. 2 vols. I, 10-11; II, 221; indsy.. Links DMR with Proust as one of the two writers he knows of who have carried "furthest" the subject of metaphysics in fiction, he "explicitly," and she "implicitly." Describes what they have done — with "subtlety, clarity, receptiveness" — as an "extracting from the mass of human consciousness what is individual to themselves and common to t:s all," 13 ........MODERN TRANSLATION. Lond: Humphrey Mil ford, Oxford U P, 1936. Pp. 145-46; Index. Illustrates the "struggles" of a translator with a passage from DEADLOCK describing the heroine's attempt to translate Andreyev. Beach, Joseph V/arren. ENGLISH LITERATURE OF THE NINETEENTH AND TWENTIETH CENTURIES. NY: Oxford U P, 1950. P. 607; rptd NY: Collier Books, 1962. Pp. 235-36. Places DMR with Virginia Woolf, D. H. Lawrence, and Katherine Mansfield in "a movement of reaction against the heavy materiality of realists like Arnold Bennett." ........ "Imagism: Dorothy Richardson," THE TOEMTIETH CENTURY NOVEL. NY: Appleton-Century-Crofts, Õ 932. Pp. 385-400; index. DKR "part and parcel of the general impressionist movement in art.."; concentrates on the first three vols of PILGRIMAGE "which are much the most charming and interesting." In general, however, the novel has no "point," and DMR's manner is "feminine" and "evasive." Bentley, Phyllis. SOME OBSERVATIONS ON THE ART OF NARRATIVE. NY: Macmlllan, 1947. PP« 40-41. Emphasizes the originality of DMR "not only in the substance of fiction but also in Its technique." Points out that DMR's "achievements and aims" were in large measure misrepresented because...