'Pilgrimage' was the first expression in English of what it is to be called 'stream of conciousness' technique, predating the work of both Joyce and Woolf, echoing that of Proust with whom Dorothy Richardson stands as one of the great innovatory figures of our time. These four volumes record in detail the life of Miriam Henderson. Through her experience - personal, spiritual, intellectual - Dorothy Richardson explores intensely what it means to be a woman, presenting feminine conciousness with a new voice, a new identity. One of the real achievements of our time... Miss Richardson has achieved a miracle of performance - Rebecca West

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

Miriam paid her first visit to a German church the next day, her third Sunday. Of the first Sunday, now so far off, she could remember nothing but sitting in a low-backed chair in the saal trying to read "Les Travailleurs de la Mer" . . . seas . . . and a sunburnt youth striding down a desolate lane in a storm . . . and the beginning of tea-time. They had been kept indoors all day by the rain.

Miriam paid her first visit to a German church the next day, her third Sunday. Of the first Sunday, now so far off, she could remember nothing but sitting in a low-backed chair in the saal trying to read "Les Travailleurs de la Mer" . . . seas . . . and a sunburnt youth striding down a desolate lane in a storm . . . and the beginning of tea-time. They had been kept indoors all day by the rain.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Dorothy Richardson was a 20th century British writer who often worked in "stream of consciousness." After she finished school she worked as a teacher, writer and held some clerical positions Her major work was called Pilgrimage. It was a series of books or as she preferred to call them chapters published under separate titles. This included: Pointed Roofs, 1915; Backwater, 1916; Honeycomb, 1917; The Tunnel, 1919; Interim, 1919; Deadlock, 1921; Revolving Lights, 1923; The Trap, 1925; Oberland, 1927; Dawn's Left Hand, 1931; Clear Horizon, 1935; the last part, Dimple Hill, appeared under the collective title, four volumes, 1938). The heroine in Pilgrimage is Miriam Henderson who was an attractive mystical woman. The novel's new look at portraying feminine consciousness gives Richardson's work significant status in the 20th century.

BACKWATER BY DOROTHY M. RICHARDSON BACKWATER CHAPTER I A SWARTHY turbaned face shone at Miriam from a tapestry screen standing between her and the ferns rising from a basket framework in the bow of the window. Consulting it at intervals as the afternoon wore on, she found that it made very light of the quiet propositions that were being elaborated within hearing of her inattentive ears. Looking beyond it she could catch glimpses between the crowded fernery, when a tram was not jingling by, of a close-set palisade just across the roadway and beyond the palisade of a green level ending at a row of Spanish poplars. The trams seemed very near and noisy. When they passed by the window, the speakers had to raise their voices. Otherwise the little drawing-room was very quiet, with a strange old-fashioned quietness. It was full of old things, like the Gobelin screen, and old thoughts like the thoughts of the ladies who were sitting and talking there. She and her mother had seemed quite modern, fussy, worldly people when they had first come into the room. From the moment the three ladies had come in and begun talking to her mother, the things in the room, and the view of the distant row of poplars had grown more and more peaceful, and now at the end of an hour she felt that she, and to some extent Mrs. Henderson too, belonged to the old-world room with its quiet green outlook shut in by the poplars. Only the trams were disturbing. They came busily by, with their strange jingle-jingle, plock-plock, and made her inattentive. Why were there so many people coming by in trams Where were they going Why were all the trams painted that blue hard, dingy The sisters talked quietly, outlining their needsin smooth gentle voices, in small broken phrases, frequently interrupting and correcting each other. Miriam heard dreamily that they wanted help with the lower school, the children from six to eight years of age, in the mornings and afternoons, and in the evenings a general superintendence of the four boarders. They kept on saying that the work was very easy and simple there were no naughty girls hardly a single naughty girl in the school there should be no difficult superintendence, no exercise of authority would be required. By the time they had reached the statement of these modifications Miriam felt that she knew them quite well. The shortest, who did most of the talking and who had twinkling eyes and crooked pince-nez and soft reddish cheeks and a little red-tipped nose, and whose small coil of sheeny grey hair was pinned askew on the top of her head stray loops standing out at curious angles was Miss Jenny, the middle one. The very tall one sitting opposite her, with a delicate wrinkled creamy face and coal-black eyes and a peak of ringletted smooth coal-black hair, was the eldest, Miss Deborah. The other sister, much younger, with neat smooth green-grey hair and a long sad greyish face and faded eyes, was Miss Haddie. They were all three dressed in thin fine black material and had tiny hands and little softly moving feet. What did they think of the trams Do you think you could manage it, chickie said Mrs, Henderson suddenly. I think I could. No doubt, my dear, oh, no doubt, said Miss as she Jenny with a little sound of laughter tapped her knee with the pince-nez she had plucked from their rakish perch on the reddened bridge of her nose. I dont think I could teach Scripture. Anoutbreak of incoherent little sounds and statements from all three taught her that Miss DSborah took the Bible classes of the whole school. How old is Miriam Just eighteen. She has put up her hair to- day. Oh, poor child, she need not have done that. She is a born teacher. She used to hold little classes amongst her schoolfellows when she was only eight years old...

Dorothy Richardson was a 20th century British writer who often worked in "stream of consciousness." After she finished school she worked as a teacher, writer and held some clerical positions Her major work was called Pilgrimage. It was a series of books or as she preferred to call them chapters published under separate titles. This included: Pointed Roofs, 1915; Backwater, 1916; Honeycomb, 1917; The Tunnel, 1919; Interim, 1919; Deadlock, 1921; Revolving Lights, 1923; The Trap, 1925; Oberland, 1927; Dawn's Left Hand, 1931; Clear Horizon, 1935; the last part, Dimple Hill, appeared under the collective title, four volumes, 1938). The heroine in Pilgrimage is Miriam Henderson who was an attractive mystical woman. The novel's new look at portraying feminine consciousness gives Richardson's work significant status in the 20th century.

Dorothy Richardson was a 20th century British writer who often worked in "stream of consciousness." After she finished school she worked as a teacher, writer and held some clerical positions Her major work was called Pilgrimage. It was a series of books or as she preferred to call them chapters published under separate titles. This included: Pointed Roofs, 1915; Backwater, 1916; Honeycomb, 1917; The Tunnel, 1919; Interim, 1919; Deadlock, 1921; Revolving Lights, 1923; The Trap, 1925; Oberland, 1927; Dawn's Left Hand, 1931; Clear Horizon, 1935; the last part, Dimple Hill, appeared under the collective title, four volumes, 1938). The heroine in Pilgrimage is Miriam Henderson who was an attractive mystical woman. The novel's new look at portraying feminine consciousness gives Richardson's work significant status in the 20th century.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

As viewers, actresses, directors and writers, women have always been central to cinema. However, evidence of their roles has until now remained scant and dispersed, eclipsed by historical opinion written by men. In magisterial scale, Red Velvet Seat restores women's film culture to center stage, using women's written accounts from the beginning of cinema up to 1950. Drawing on fashion and parenting magazines, newspapers and literary journals, memoirs and etiquette guides, and with contributors ranging from Virginia Woolf, Colette, and Rebecca West to psychoanalysts, poets, social reformers, labor organizers, film editors, screen beauties, and race activists, the volume displays the full scope of women's film culture. In each section, editor Antonia Lant with Ingrid Periz provides historical context and links archival accounts to major social and political movements. Comprehensive and absorbing, Red Velvet Seat is an invaluable contribution to the history of cinema.