Why a monumental diary by an aunt and niece who published poetry
together as "Michael Field"-and who were partners and lovers for
decades-is one of the great unknown works of late-Victorian and
early modernist literature Michael Field, the renowned
late-Victorian poet, was well known to be the pseudonym of
Katharine Bradley (1846-1914) and her niece, Edith Cooper
(1862-1913). Less well known is that for three decades, the women
privately maintained a romantic relationship and kept a double
diary, sharing the page as they shared a bed and eventually
producing a 9,500-page, twenty-nine-volume story of love, life, and
art in the fin de siecle. In Chains of Love and Beauty, the first
book about the diary, Carolyn Dever makes the case for this work as
a great unknown "novel" of the nineteenth century and as a bridge
between George Eliot and Virginia Woolf, Victorian marriage plot
and modernist experimentation. While Bradley and Cooper remained
committed to publishing poetry under a single, male pseudonym, the
diary, which they entitled Works and Days and hoped would be
published after their deaths, allowed them to realize literary
ambitions that were publicly frustrated during their lifetime. The
women also used the diary, which remains largely unpublished, to
negotiate their art, desires, and frustrations, as well as their
relationships with contemporary literary celebrities, including
Robert Browning, Oscar Wilde, William Butler Yeats, and Walter
Pater. Showing for the first time why Works and Days is a great
experimental work of late-Victorian and early modernist writing,
one that sheds startling new light on gender, sexuality, and
authorship, Dever reveals how Bradley and Cooper wrote their shared
life as art, and their art as life, on pages of intimacy that they
wanted to share with the world.
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