"There’s no backstitching in stories. Nothing can be locked in place." So says a character in Studio Saint-Ex, but readers of Ania Szado's second novel might disagree; she seems to have no trouble locking a good story in place. She began where all good stories begin, with a fascination. In
When actress Elizabeth Taylor was appearing in "National Velvet", novelist Elizabeth Taylor (nee Coles) was publishing her first novel, At Mrs Lippincote's. It seems like everybody knows about Elizabeth Taylor the actress; Nicola Beauman's biography considers The Other Elizabeth Taylor. The biographer opens her work by explaining that she is
Beverly Cleary's Dear Mr. Henshaw (1983) (And my Holman-Harmon Handbook to Literature) I hadn't given this book a thought for my series on Letters for this autumn, but I happened upon a copy of it at a booksale a couple of weeks ago, and I did love my Ramona re-reads (and
Richard B. Wright's Mr. Shakespeare's Bastard Phyllis Bruce - Harper Collins, 2010 I was so annoyed with myself as a reader for not properly appreciating Richard Wright's October; I knew it was very well-done and it was simply my preternatural attachment to his earlier novel, Clara Callan, that interfered with
Nicola Beauman's A Very Great Profession: The Woman's Novel 1914-39 (1983) Virago, 1984. Persephone No. 78, 2008. I'm certain that I've said this before, but this is one of my favourite kinds of books about books. Nicola Beauman's A Very Great Profession is obviously written out of a passion for
