Rebecca West

From Wikipedia, the free encyclopedia

Cicely Isabel Fairfield (December 21, 1892-March 15, 1983), known by her pen name Rebecca West, or Dame Rebecca West, was a British-born author of Scottish-Irish ancestry, well known for her novels, journalism, literary criticism and travel literature. A prolific, protean author who wrote in many genres, West was committed to feminist and liberal principles and was one of the foremost public intellectuals of the twentieth century, as well as one of its greatest prose stylists. She reviewed books for The Times, the New York Herald Tribune, the Sunday Telegraph, and the New Republic, and she was a correspondent for The Bookman. Her works include the magisterial history of Yugoslavia, Black Lamb and Grey Falcon; her coverage of the Nuremberg trials, published originally in The New Yorker and then as A Train of Powder; a study of World War II traitors, The Meaning of Treason, later The New Meaning of Treason; the modernist World War I novel The Return of the Soldier; and the autobiographical “Aubrey trilogy” of novels, The Fountain Overflows, This Real Night, and Cousin Rosmaund. Time called her “indisputably the world’s number one woman writer” in 1947. She was appointed by the Queen of England to the status of Commander of the Order of the British Empire (CBE) in 1949, an honor that was raised to Dame Commander (DBE) in 1959, the female equivalent of a Knighthood, in recognition of her outstanding contributions to British letters.

Contents 1 Biography 1.1 Early Career 1.2 Mid Life 1.3 Later Years 1.4 Relationship With Her Son 1.5 Death 2 Politics 3 Religion 4 Quotes 5 Cultural references 6 Bibliography 6.1 Fiction 6.2 Non-fiction 6.3 Translations 6.3.1 French 6.3.2 German 6.3.3 Italian 6.3.4 Serbian 6.3.5 Spanish 6.4 Criticism and biography 7 External links 8 References

[edit] Biography

Rebecca West was born Cicely Isabel Fairfield in 1892 in London and grew up in a home full of intellectual stimulation, political debate, lively company, books, and music.^[1] Her mother, Isabella, a Scotswoman, was an accomplished pianist but did not pursue a musical career after her marriage to Charles Fairfield. Charles, an Anglo-Irish journalist of considerable reputation but financial incompetence, deserted his family when Cicely was 8 years old. He never re-joined them and died impoverished and alone in a boarding house in Liverpool in 1906, when Cicely was 12.^[2] The rest of the family moved to Edinburgh, Scotland, where Cicely was educated at George Watson's Ladies College before she had to cut short her schooling due to a bout of tuberculosis in 1907.^[3] Cicely did not have any formal schooling after the age of 16, due to lack of funds.

She had two older sisters. Letitia (“Lettie”), who was the most educated of the three, became one of the first fully-qualified female doctors in Britain, as well as a barrister at the English Inns of Court. Winifred (“Winnie”), the middle sister, went on to marry Norman Macleod, who went on to become Principal Assistant Secretary in the English Admiralty, and eventually director general of Greenwich Hospital. With him, Winnie produced two children – Alison and Norman – who were to become closely involved in Rebecca’s life as she got older.^[4] West trained as an actress in London, taking the name "Rebecca West" from the heroine in Rosmersholm by Henrik Ibsen. She and her older sister Lettie became involved in the women's suffrage movement before World War I, engaging in street protests in favor of women’s right to the vote, which was finally granted in 1918 to women over 30 (men had only to be 21). Meanwhile, West worked as a journalist on Freewoman and the Clarion, drumming up support for the suffragette cause. She met H. G. Wells in 1913, after her provocatively damning review of his novel Marriage prompted him to invite her to lunch. They fell in love, though Wells was still in his second marriage at the time, and their affair lasted ten years, producing a son, Anthony West. West is also said to have had affairs with Charlie Chaplin and newspaper magnate Max Beaverbrook.^[5]

[edit] Early Career

West established her reputation as a savage and eloquent spokesperson for feminist and socialist causes and as a sharp-witted critic, turning out a staggering number of essays and reviews for The New Republic, The New York Herald Tribune, The New York American, The New Statesman,The Daily Telegraph,and many more newspapers and magazines. George Bernard Shaw said in 1916 that “Rebecca West could handle a pen as brilliantly as ever I could and much more savagely.”^[6] During the 1920s, West began a lifelong habit of visits to the U.S.A. to give lectures, meet artists, and get involved in the political scene. There, she befriended CIA founder Allen Dulles, actor Charlie Chaplin, The New Yorker founder, Harold Ross, and historian Arthur Schlesinger, Jr., among many other significant figures of the day. Her lifelong friendship with America culminated in 1948 when Harry S. Truman awarded her the Women's Press Club Award for Journalism, calling her “the world's best reporter.”^[7]

In 1930, at the age of 37, she married a banker, Henry Maxwell Andrews, and they remained together until his death in 1968. West had risen in the world due to the financial proceeds of her pen, and by 1940 she owned a Rolls Royce and a grand country estate, Ibstone House, in the Chiltern Hills of Southern England. It is testament to her financial savvy that both the Rolls and the country estate were acquired for a fraction of their worth from insolvent owners. During the war, West housed Yugoslav refugees in the spare rooms of her blacked-out manor, and she used the grounds as a small dairy farm and vegetable plot, agricultural pursuits that continued long after the war had ended.

[edit] Mid Life

As West grew older, she turned to broader political and social issues, including humankind’s propensity to inflict violent injustice on itself. Before and during World War II, West traveled widely, collecting material for books on travel and politics. From 1936-38, she made three consecutive trips to Yugoslavia, a country she had come to love, seeing it as the nexus of European history since the late Middle Ages. Her non-fiction masterpiece, Black Lamb and Grey Falcon (1941) is an amalgamation of her impressions from these trips to the Balkans. Reviewing the book in October 1941 in The New York Times, Katherine Woods wrote: “In two almost incredibly full-packed volumes one of the most gifted and searching of modern English novelists and critics has produced not only the magnification and intensification of the travel book form, but, one may say, its apotheosis.” West was assigned by Ross at The New Yorker magazine to cover the Nuremberg trials, an experience she memorialized in the book A Train of Powder (1955). She also went to South Africa in 1960 to report on the state of Apartheid in a series of articles for the Sunday Times.

She traveled vigorously well into old age. In 1966 and 1969, she undertook two long journeys to Mexico, becoming fascinated by the indigenous culture of the country and its mestizo population, staying with actor Romney Brent in Mexico City and with Katherine (Kit) Wright, a long-time friend, in Cuernavaca.^[8] She collected a large amount of travel impressions and wrote tens of thousands of words for a “follow-up” volume to Black Lamb and Grey Falcon, tentatively titled "Survivors in Mexico." The work, however, was never finished, and only saw publication posthumously in 2003. Even into her late 70s, she still visited Lebanon, Venice, Monte Carlo, and always went back to the United States.

[edit] Later Years

After her husband’s death in 1968, West moved to London, where she bought a spacious apartment in a well-to-do building overlooking Kensington Gardens (unfortunately right next door to the Iranian embassy, which was the scene of a dramatic siege in May 1980, necessitating the 87-year old Rebecca’s evacuation^[9]). In the last two decades of her life, West kept up a very active social life, making friends with Martha Gellhorn, Doris Lessing, Bernard Levin, comedian Frankie Howerd, and film star and director Warren Beatty, who filmed her for his movie "Reds," about Jack Reed and the Russian Revolution. She also spent time with scholars such as Jane Marcus and Bonnie Kime Scott, who began to chronicle her feminist career and varied work.^[10] She wrote at an unabated pace, penning masterful reviews for the Sunday Telegraph, publishing her last novel The Birds Fall Down (1966), overseeing the film version of the story by BBC in 1978. The last work published in her lifetime was a cultural history titled 1900, issued in 1982, exploring her fascination with the last year of Queen Victoria’s long reign, which represented a watershed year in many cultural and political respects.

At the same time, West worked on sequels to her autobiographically inspired novel The Fountain Overflows (1957); although she had written the equivalent of two more novels for the planned trilogy, she was never satisfied with the sequels and did not publish them. She also tinkered at great length with an autobiography, without coming to closure, and she started scores of stories without finishing them. Much of her work from the late phase of her life was published posthumously, including Family Memories (1987), This Real Night (1984), Cousin Rosamund (1985), The Only Poet (1992), and Survivors in Mexico (2003). Unfinished works from her early period, notably Sunflower (1986) and The Sentinel (2001) were also published after her death, so that her oeuvre was augmented by about one third by posthumous publications.

[edit] Relationship With Her Son

West suffered from failing eyesight and high blood pressure in the late 1970s, and she became increasingly frail. Her last months were mostly spent in bed, sometimes delirious, sometimes lucid, and she complained that she was dying too slowly.^[11] She also felt haunted by her absent son, Anthony, with whom she had carried on a life-long feud. Anthony, himself a gifted writer, his father’s biographer (H. G. Wells: Aspects of a Life [1984]), and a novelist of some repute, had written Heritage (1955), a fictionalized autobiography. West never forgave her son for depicting in Heritage the relationship between an illegitimate son and his two world-famous, unmarried parents, and for portraying the mother in unflattering terms. Essentially, she felt, Anthony was airing in public his accusations against her as a bad mother, which stemmed partly from the fact that she had made a fiction of his provenance - asking him to call her Auntie, and his father Wellsie, until he was about four or five - and partly from her habit of leaving him in institutions in his early years while she developed her career in the United States. West countered by claiming that she spent as much time with him as any child could reasonably hope to spend with a mother who was a professional. She was exasperated at his focus on her parenting, when he did not accuse H. G. Wells of abandonment, even though his father had been around far less during Anthony’s youth. Anthony, in fact, idolized Wells. The depiction of West’s alter ego in Heritage as a deceitful, unloving actress (West had trained as an actress in her youth) and poor caregiver so wounded West that she broke off relations with her son and threatened to sue any publisher who would bring out Heritage in England. She successfully suppressed an English edition of the novel, which was only published there after her death, in 1984. Although there were temporary rapprochements between her and Anthony, a state of alienation persisted between them, causing West grief until her dying hour. She fretted about her son’s absence from her deathbed, but when asked whether he should be sent for, answered, “perhaps not, if he hates me so much”^[12]

[edit] Death

Her agony was finally over on March 15, 1983, when her heart stopped beating. West is buried at Brookwood Cemetery, Woking. ^[13]

On hearing of her death, William Shawn, then editor in chief of The New Yorker, said:

“

Rebecca West was one of the giants and will have a lasting place in English literature. No one in this century wrote more dazzling prose, or had more wit, or looked at the intricacies of human character and the ways of the world more intelligently." [14]

”

[edit] Politics

West grew up in a home filled with discussions of world affairs. Her father Charles Fairfield was a journalist who often involved himself in controversial issues. He brought home Russian revolutionaries and other political activists, and their debates helped to form West’s sensibility, which took shape in novels such as The Birds Fall Down, set in Russia before the revolution of 1917.^[15] But the crucial event that molded West’s politics was the Dreyfus Affair.^[16] The impressionable Rebecca learned early on just how powerful was the will to persecute minorities and to subject individuals to unreasonable suspicion based on flimsy evidence and mass hysteria.^[17] West had a keen understanding of the psychology of politics, how movements and causes could sustain themselves on the profound need to believe or disbelieve in a core of values—even when that core contradicted reality.^[18]

It would seem that Charles Fairfield’s ironic, skeptical temper so penetrated his youngest daughter’s sensibility that she could not regard any body of ideas as other than a starting point for argument. Although she was a militant feminist and expressed considerable support for the suffragette cause—publishing, for example, a perceptive and admiring profile of Emmeline Pankhurst—West also criticized the tactics of Pankhurst’s daughter, Christabel, and the sometimes doctrinaire aspects of the Pankhurst’s Women’s Social and Political Union (WSPU).^[19]

The first major test of West’s political outlook was the Russian Revolution, an event which signaled to many on the left the beginning of a new, better world, one that would remedy, if not abolish, the inequities and crimes of capitalism. But to West, both the revolution and the revolutionaries were suspect. Even before the October revolution of 1917, when the Bolsheviks took power, West expressed her doubts that events in Russia could serve as a model for socialists in Britain or anywhere else.^[20]

West paid a heavy price for her cool reaction to the Russian Revolution. Although she regarded herself as a member of the left, having attending Fabian (socialist) summer schools as a young girl, she increasingly found that her positions isolated her. When Emma Goldman visited Britain in 1924 after experiencing firsthand the atrocities of the Russian Revolution, an exasperated West discovered that leading members of the British intelligentsia failed to heed Goldman’s admonition that the Soviet Union had not merely made serious blunders in the implementation of revolutionary justice, but rather that revolutionary justice that did not protect individual rights was no justice at all.^[21]

For all her censures of communism, however, West was hardly an uncritical supporter of the Western democracies. Thus she excoriated the U.S. government for deporting Goldman and for conducting the infamous Palmer raids, a rounding up of supposed radicals and Communists initiated by Woodrow Wilson’s attorney general, J. Mitchell Palmer. She was also appalled at the failure of Western democracies to come to the aid of Republican Spain, and she supported with her own money the efforts of those fighting on behalf of the democratically elected government.^[22]

A staunch anti-fascist, West attacked both the Conservative governments of her own country for appeasing Adolf Hitler and her comrades on the left for their pacifism. Neither side, in her view, understood the evil Nazism posed. Unlike many on the left, she also distrusted Joseph Stalin. To West, Stalin had a criminal mentality that Communism facilitated.^[23] She was outraged when Churchill decided to back the communist Marshall Tito in Yugoslavia instead of Draza Mihailovic, whom she considered the legitimate leader of the Yugoslav resistance.^[24] After the war, West’s anti-Communism hardened as she saw Poland, Czechoslovakia, Hungary and other Eastern and Central European states succumb to Soviet domination.

So it is not surprising that West would have reacted to Senator Joseph McCarthy differently from her fellow leftist intellectuals. They saw a politician recklessly accusing government officials of clandestinely collaborating with Communists. West saw a politician blundering into the minefield of Communist subversion. McCarthy was right to pursue Communists with fervor, so far as West was concerned, even if his methods were roughshod. West’s mild reaction to McCarthy provoked powerful revulsion among those on the left and dismay even among anti-Communist liberals. And there is no doubt that she discounted the injury McCarthy did to some of those he accused unjustly of abetting Communists. She refused, however, to amend her views.^[25]

Although West’s anti-Communism earned the high regard of Conservatives, she never considered herself one of them. In postwar Britain, West continued to vote Labor and welcomed the Labour Party landside of 1945 that turned Winston Churchill out of office. But she spoke out against union dominance of the Labour Party and thought leftwing politicians such as Michael Foot unimpressive. She had mixed feelings about the Callaghan government, which gave way to Margaret Thatcher, a figure West admired—less for Thatcher’s policies than for Thatcher’s ability to rise in a male-dominated profession.^[26] She admired Thatcher’s willingness to stand up to union bullying, which meant using rather brutal tactics against Arthur Scargill, the leader of the miners’ union.

In the end, West’s anti-Communism remains the centerpiece of her politics because she so consistently challenged the Communists as legitimate foes of the status quo in capitalist countries. In West’s view, communism, like fascism, was merely a form of authoritarianism. Communists were under party discipline and therefore could never speak for themselves. And West was a supreme example of an intellectual who spoke for herself, no matter how her comments might injure her. Indeed, few writers explicitly acknowledged how much West’s embrace of unpopular positions hurt her on the left. A whole generation of writers abandoned West and refused to read her, as Doris Lessing suggested.^[27]

[edit] Religion

West considered herself a Christian but she was an unconventional believer. At times, she found God to be wicked, at others she considered him merely ineffectual and defeated.^[28] However, she revered Christ as the quintessentially good man,^[29] she had great respect for the literary, pictorial, and architectural manifestations of the Christian ethos, and she considered faith a valid tool to grapple with the conundrums of life and the mysteries of the cosmos.^[30] Although her writings are full of references to the Bible and ecclesiastical history, she was essentially anti-doctrinaire and occasionally blasphemous. In 1926 she expressed the unorthodox belief that “Christianity must be regarded not as a final revelation but as a phase of revelation.”^[31] Moreover, she rejected specific articles of belief such as the Virgin birth, Original Sin, Atonement, and Providence. Her contribution to Virginia Woolf's Hogarth Letters Series, Letter to a Grandfather (1933), is a declaration of “my faith, with seems to some unfaith” ^[32] disguised as philosophical fiction. Written in the midst of the Great Depression, Letter to a Grandfather traces the progressive degeneration of the notion of Providence through the ages, concluding skeptically that “the redemptive power of divine grace no longer seemed credible, nor very respectable in the arbitrary performance that was claimed for it."^[33] As for the Atonement, Black Lamb and Grey Falcon is in part meant as a refutation of that very doctrine, which she saw as having sparked a fatal obsession with sacrifice throughout the Christian era and, specifically, as having prompted Neville Chamberlain to formulate his appeasement policy, which she vehemently opposed: “All our Western thought is founded on this repulsive pretence that pain is the proper price of any good thing. . . . [Augustine] developed a theory of the Atonement which was pure nonsense, yet had the power to convince. . . . This monstrous theory supposes that God was angry with man for his sins and that He wanted to punish him for these, not in any way that might lead to his reformation, but simply by inflicting pain on him; and that He allowed Christ to suffer this pain instead of man and thereafter was willing on certain terms to treat man as if he had not committed these sins. This theory flouts reason at all points, for it is not possible that a just God should forgive people who are wicked because another person who was good endured agony by being nailed to a cross.”^[34]

World War II shocked her into a more conventional belief: “I believe if people are looking for the truth, the truth of the Christian religion will come out and meet them.”^[35] And in the early 1950s, she thought she had a mystical revelation in France and actively tried to convert to Catholicism.^[36] There was a precedent in her family for this action, as her sister, Letitia, had earlier converted to Catholicism, thereby causing quite a stir. But West’s attempt was short-lived, and she confessed to a friend: “I could not go on with being a Catholic. . . . I don’t want, I can’t bear to, become a Graham Greene and Evelyn Waugh, and I cannot believe that I am required to pay such a price for salvation.”^[37] Her writings of the 1960s and early 70s again betray a profound mistrust towards God: “The case against religion is the responsibility of God for the sufferings of mankind, which makes it impossible to believe the good things said about Him in the Bible, and consequently to believe anything it says about Him.”^[38]

West’s fluctuating attitude towards Christianity was offset by a more constant form of belief. She was informally a Manichaean all her life.^[39] Although she was critical of Manichaeanism's puritanical excesses,^[40] she did believe in the existence of dualism as the most fundamental working principle of the universe.^[41] Although she conceded, optimistically, that “it is not possible to kill goodness,”^[42] she also indulged in pessimistic statements like “natural man is mean,”^[43] which is as much as saying that she adhered to the Manichaean belief that the essence of goodness was diffused inside gross matter like particles of light trapped in darkness. The Catholic Church persecuted this belief so mercilessly because it incorporated the Gnostic view that the world was created by demons and that God might yet lose his battle with His arch-enemy. In accordance with this Manichaean skepticism, West wrote in a draft of her own memoirs: “I had almost no possibility of holding faith of any religious kind except a belief in a wholly and finally defeated God, a hypothesis which I now accept but tried for a long time to reject, I could not face it.”^[44]

Manichaean was also her life-long struggle with the very question of how to deal with dualisms. At times she appears to favor the merging of opposites, for which Byzantium served as a model: “church and state, love and violence, life and death, were to be fused again as in Byzantium.”^[45] More dominant, however, was her tendency to view the tensions generated in the space between dualistic terms as life-sustaining and creative; hence, her aversion to homosexuality and her warning not to confuse the drive for feminist emancipation with the woman’s desire to become like a man. Her insistence on the fundamental difference between men and women reveals her essentialism,^[46] but it also bespeaks her innate Manichaean sensibility. She wanted respect and equal rights for women, but at the same time she required that women retain their specifically feminine qualities, notably an affinity with the life force: “Men have a disposition to violence; women have not. If one says that men are on the side of death, women on the side of life, one seems to be making an accusation against men. One is not doing that.”^[47] One reason why she does not want to make an accusation against men is that they are simply playing their assigned role in a flawed universe, which is, of course, the result of an imperfect deity. Only love can alleviate destructive aspects of the sex-antagonism: “I loathe the way the two cancers of sadism and masochism eat into the sexual life of humanity, so that the one lifts the lash and the other offers blood to the blow, and both are drunken with the beastly pleasure of misery and do not proceed with love’s business of building a shelter from the cruelty of the universe.”^[48] In addition to the operations of love, female emancipation is crucial to removing the moral, professional, and social stigma associated with the notion of the “weaker sex,” without trying to do away altogether with the temperamental and metaphysical aspects of the gender dualism itself. Thus, the “sex war” so graphically rendered in West’s early short story “Indissoluble Matrimony” (1914) elevates the female character, Evadne, in the end because she accepts the terms of the contest without superficially trying to “win” that war.

Manichaeanism also informs West’s political propensities. As Bernard Schweizer has argued: “St. Augustine and Schopenhauer emphasized the fallenness of human life, implying a quietistic stance that could be confused with conservatism, while the Reclus brothers [famous French anarchists] urged her to revolt against such pessimistic determinism. West’s characteristically heroic personal and historic vision is a result of these two contending forces.”^[49] West’s conviction that humanity will only fulfill its highest potentials if it adheres to the principle of process similarly arises from her Manichaean temperament: “Process is her most encompassing doctrine,” states Peter Wolfe. “Reconciling her dualism, it captures the best aspects of the male and female principles.”^[50] In this way, West’s Manichaean disposition infuses her religious sensibility, as well as her thinking about gender, politics, and art.

[edit] Quotes

• "I myself have never been able to find out what feminism is; I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat or a prostitute."^[51]
• "There is, of course, no reason for the existence of the male sex except that sometimes one needs help with moving the piano."^[52]
• "Any authentic work of art must start an argument between the artist and their audience."^[53]
• "Only part of us is sane: only part of us loves pleasure and the longer day of happiness, wants to live to our nineties and die in peace, in a house that we built, that shall shelter those who come after us. The other half of us is nearly mad. It prefers the disagreeable to the agreeable, loves pain and its darker night despair, and wants to die in a catastrophe that will set back life to its beginnings and leave nothing of our house save its blackened foundations."^[54]
• "All our Western thought is founded on this repulsive pretence that pain is the proper price of any good thing."^[55]
• "If it be ungentlemanly to kiss and tell, it is still further from gentlemanliness to pray and tell."^[56]
• "Fiction and poetry are the only way one can stop time and give an account of an experience and nail it down so that it lasts for ever."^[57]
• "I am a fanatical admirer of A.L. Barker. If you cannot read her it is your fault. You should ask your vet to put you down if you do not admire 'The Middling' or 'An Occasion for Embarrassment'."^[58]
• "[Nabokov has a] habit of constructing his novels on the same pattern as the mandrill, with the parts devoted to sexual activities far too extensive and highly coloured.”^[59]
• “A good cause has to be careful of the company it keeps."^[60]
• "Unfortunately, all gatherings convened for the betterment of the human lot show a tendency to gas themselves, and not with laughing-gas either."^[61]
• "Economists are like Aeolian harps, and the sounds that issue from them are determined by the winds that blow."^[62]
• "It is the soul’s duty to be loyal to its own desires. It must abandon itself to its master passion."

[edit] Cultural references

Virginia Woolf named Rebecca West as the “arrant feminist” who offends men by saying they are snobs in chapter two of A Room of One’s Own: “[W]hy was Miss West an arrant feminist for making a possibly true if uncomplimentary statement about the other sex?”

Bill Moyers's interview "A Visit With Dame Rebecca West," recorded in her London home when she was 89, was aired by Channel 13 in July 1981. In a review of the interview, John O'Connor wrote that "Dame Rebecca emerges as a formidable presence. When she finds something or somebody disagreeable, the adjective suddenly becomes withering."^[63]

West appeared with Dora Marsden as one of the “witnesses” to the life of anarchist John Reed in Warren Beatty’s 1982 film Reds.

West’s first novel, The Return of the Soldier, was turned into a major motion picture in 1982, directed by Alan Bridges, starring Alan Bates, Glenda Jackson, and Julie Christie. More recently, an adaptation of The Return of the Soldier for the stage by Kelly Younger titled Once A Marine took West’s theme of shell-shock-induced amnesia and applied it to a soldier returning from the war in Iraq with PTSD.

There have been two plays about Rebecca West produced since 2004: That Woman: Rebecca West Remembers, by Carl Rollyson, Helen Macleod, and Anne Bobby, is a one-woman monologue in which an actress playing Rebecca West recounts her life through some of her most famous articles, letters, and books. Tosca’s Kiss, a 2006 play by Kenneth Jupp, retells West’s experience covering the Nuremberg trials for "The New Yorker."

Robert D. Kaplan’s influential book Balkan Ghosts (1994) is an homage to West’s Black Lamb and Grey Falcon (1941), which he calls “this century’s greatest travel book”^[64]

A 1990s female Canadian rock group headed by Alison Outhit called itself Rebecca West.

In February 2006, BBC broadcast a radio version of West's novel The Fountain Overflows, dramatized by Robin Brook, in six 55 minute installments.

[edit] Bibliography

[edit] Fiction

• The Return of the Soldier (1918), the first World War I novel written by a women, about a shell-shocked, amnesiac soldier returning from World War I in hopes of being reunited with his first love, a working-class woman, instead of continuing to live with his high-class wife.
• The Judge (1922), a brooding, passionate novel combining Freudian Oedipal themes with suffragism and an existential take on cosmic absurdity.
• Harriet Hume (1929), a modernist story about a piano-playing prodigy and her obsessive lover, a corrupt politician.
• The Harsh Voice:Four Short Novels (1935), contains the short story "The Salt of the Earth," featuring Alice Pemberton, whose obsessive altruism becomes so smothering that her husband plots her murder.
• The Thinking Reed (1936), a novel about the corrupting influence of wealth even on originally decent people.
• The Fountain Overflows (1957), a semi-autobiographical novel weaving a fascinating cultural, historical, and psychological tapestry of the first decade of the 20th century, reflected through the prism of the gifted, eccentric Aubrey family.
• This Real Night (1984), sequel to The Fountain Overflows published posthumously
• Cousin Rosamund (1985), final, unfinished installment of the "Aubrey Trilogy" published posthumously ^[65]
• The Birds Fall Down (1966), spy thriller based on the deeds of the historical double agent Yevno Azef. ^[66]
• Sunflower (1986), published posthumously, about a tense love-relationship between an actress and a literary lion, reminiscent of West's relationship with H.G. Wells.
• The Sentinel (2002), edited by Kathryn Laing and published posthumously, West's very first extended piece of fiction, an unfinished novel about the suffragist struggle in Britain, including grim scenes of female incarceration and force-feeding.

[edit] Non-fiction

• Henry James (1916)
• The Strange Necessity: Essays and Reviews (1928), a blend of modernist literary criticism and cognitive science, including a long essay explaining why West disliked James Joyce's Ulysses, though she judged it an important book
• Ending in Earnest: A literary Log (1931)
• St. Augustine (1933), first psycho-biography of the Christian Church Father
• The Modern Rake's Progress (co-authored with David Low) (1934)
• Black Lamb and Grey Falcon (1941), a 1,181-page classic of travel literature, giving an account of Balkan history and ethnography, and the significance of Nazism, structured about her trip to Yugoslavia in 1937.
• The Meaning of Treason (1949)
• The New Meaning of Treason (1964)
• A Train of Powder (1955)
• The Court and the Castle: some treatments of a recurring theme (1958), excellent revisionist interpretations of literary classics, including Hamlet and Kafka's stories
• 1900 (1982), cultural history and fascinating "thick description" of this pivotal year
• The Young Rebecca (1982), West's early, radical journalism for The Freewoman and Clarion, edited by Jane Marcus
• Family Memories: An Autobiographical Journey (1987), West's autobiographical musings which remained unpublished during her life, assembled and edited by Faith Evans
• The Selected Letters of Rebecca West (2000), edited by Bonnie Kime Scott
• Survivors in Mexico[1] (2003), posthumous work about West's two trips to Mexico in 1966 and 1969, edited by Bernard Schweizer
• Woman as Artist and Thinker (2005), re-issues of some of West's best essays, together with her short-story "Parthenope"

[edit] Translations

[edit] French

Black Lamb and Grey Falcon:

• Agneau noir et faucon gris: un voyage à travers la Yougoslavie. Lausanne [Paris]: l'Âge d'homme, 2000. Translated by Gérard Joulié

The Fountain Overflows:

• La famille Aubrey. Paris: Éditions "Autrement." 1996. Translated by Anne Marcel

The Harsh Voice:

• Femmes d'affaires. Paris: L. Levi, 1993. Translated by Claudine Richetin

[edit] German

Black Lamb and Grey Falcon:

• Schwarzes Lamm und grauer Falke: eine Reise durch Jugoslawien. Berlin: Ed. Tiamat, 2002. Translated by Hanne Gebhard

"A Greenhouse with Cyclamens":

• Gewächshaus mit Alpenveilchen. Berlin: Ed. Tiamat, 1995. Translator not specified

The Fountain Overflows:

• Der Brunnen Fliesst Über. Hamburg: Krüger Verlag, 1958. Translated by Ilse Krämer.

The Birds Fall Down:

• Die Zwielichtigen. Hamburg: Krüger Verlag, 1966-67. Translator not specified

[edit] Italian

Black Lamb and Grey Falcon:

• Viaggio in Yugoslavia: Bosnia e l'Erzegovina. Torino: EDT 1994. Translated by Sarina Reina
• La Croazia: viaggio in Yugoslavia. Torino: EDT, 1994. Translated by Maria Teresa Bonotto
• La vecchia Serbia: viaggio in Yugoslavia. Torino: EDT, 2000. Translated by Sarina Reina

The Fountain Overflows:

• La fontana degli Aubrey. Milano: Sugar 1958. Translated by Ada Salvatore
• La famiglia Aubrey. Fidenza: Mattioli1885, 2008. Translated by Francesca Frigerio

The Return of the Soldier:

• Il ritorno del soldato. Mondadori: 1983. Translated by Paola Campioli
• Prigioniero del passato. Milano: Mondadori, 1984. Translator not specified

"The Salt of the Earth":

• Il sale della terra. Milano: La Tartaruga, 1994. Ed. Maria del Sapio Garbero. Translated by Maddalena Pennacchia

"Parthenope":

• Parthenope. Fidenza: Mattioli1885, 2006. Translated by Francesca Frigerio

[edit] Serbian

Black Lamb and Grey Falcon:

• Crno jagnje i sivi soko. Blago, Beograd, 2004. Translated by Ana Selić

[edit] Spanish

Black Lamb and Grey Falcon:

• Cordero negro, halcón gris: un viaje al interior de Yugoslavia. Barcelona: Edicios B, D.L., 2001. Translated by Luis Murillo

[edit] Criticism and biography

• Rebecca West: Artist and Thinker (1971) by Peter Wolfe
• Rebecca West (Twayne Authors Series) (1980) by Motley F. Deakin
• The Literary Achievement of Rebecca West (1986) by Harold Orel
• Rebecca West: A Life (1987) by Victoria Glendinning
• Rebecca West: A Life (1996) by Carl Rollyson
• The Literary Legacy of Rebecca West (1998) by Carl Rollyson
• Paradoxical Feminism: The Novels of Rebecca West (2000) by Ann V. Norton
• Rebecca West: Heroism, Rebellion, and the Female Epic [2]' (2002) by Bernard Schweizer
• Rebecca West and the God That Failed (2005) by Carl Rollyson
• Rebecca West Today [3] (2006) edited by Bernard Schweizer, the first collection of critical essays on Rebecca West

[edit] External links

• Works by or about Rebecca West at Internet Archive (scanned books original editions color illustrated)
• Works by Rebecca West at Project Gutenberg (plain text and HTML)
• 1984 audio interview of Anthony West, son of Rebecca West by Don Swaim
• New York Times obituary, 16 March 1983
• Biography
• International Rebecca West Society

[edit] References

1. ^ Victoria Glendinning, Rebecca West: A Life, Knopf, 1987, p. 9
2. ^ Victoria Glendinning, Rebecca West: A Life, pp. 21-22]
3. ^ Carl Rollyson, Rebecca West: A Life, Scribner, 1996, p. 29
4. ^ Carl Rollyson, Rebecca West: A Life, pp. 418-27
5. ^ Carl Rollyson, Rebecca West: A Life, p. 100, 115
6. ^ Linda Charlton, "Dame Rebecca West Dies in London, The New York Times, March 16, 1983
7. ^ Linda Charlton, "Dame Rebecca West Dies in London, The New York Times, March 16, 198
8. ^ Carl Rollyson, Rebecca West: A Life, pp. 353-59
9. ^ Carl Rollyson, Rebecca West: A Life, pp. 413-14
10. ^ Jane Marcus, The Young Rebecca: Writings of Rebecca West 1911-17, Indiana University Press (1982), p. x; Bonnie Kime Scott, Refiguring Modernism (Vol. 1), Indiana University Press, 1995, p. xli
11. ^ Carl Rollyson, Rebecca West: A Life, p. 427
12. ^ Carl Rollyson, Rebecca West: A Life, p. 427
13. ^ "Rebecca West". Necropolis Notables. The Brookwood Cemetery Society. Retrieved on 2007-02-23.
14. ^ Linda Charlton, "Dame Rebecca West Dies in London, The New York Times, March 16, 1983
15. ^ Carl Rollyson, Rebecca West Today: Contemporary Critical Approaches, University of Delaware Press, 2006, p. 10
16. ^ Carl Rollyson, Rebecca West: A Life, p. 25
17. ^ Carl Rollyson, Rebecca West: A Life, p. 286
18. ^ Carl Rollyson, Rebecca West and the God That Failed, iUniverse, 2005, pp. 51-52
19. ^ Rebecca West, The Young Rebecca: Writings of Rebecca West 1911-17, edited by Jane Marcus, Indiana University Press, 1982, pp. 108-110; pp. 206-09; pp. 243-62
20. ^ Carl Rollyson, Rebecca West and the God that Failed, pp. 51-57
21. ^ Victoria Glendinning, Rebecac West: A Life, pp. 105-08; Carl Rollyson, Rebecca West and The God That Failed, p. 53
22. ^ Rebecca West, Introduction to Emma Goldman’s My Disillusionment with Russia, Doubleday, 1923
23. ^ Rebecca Weset, “The men we sacrificed to Stalin,” Sunday Telegraph, n.d.
24. ^ Rebecca West wrote a mordant satire of the Allied's switch from backing Mihailovic to supporting Tito titled "Madame Sara's Magic Crystal," a story published posthumously in The Only Poet, edited by Antonia Till, Virago, 1992, pp. 167-78.
25. ^ Rebecca West, “McCarthyism,” U.S. News and World Report, 22 May, 1953; “Miss West Files and Answer,” The Herald Tribune, 22 June, 1953, p. 12; “Memo from Rebecca West: More about McCarthyism,” U.S. News and World Report, 3 July 1953, pp. 34-35
26. ^ Rebecca West, “Margaret Thatcher: The Politician as Woman,” Vogue, September 1979
27. ^ Carl Rollyson, Rebecca West and the God That Failed, p. 54
28. ^ Bernard Schweizer, Rebecca West: Heroism, Rebellion, and the Female Epic, Greenwood, 2002, pp. 72-76
29. ^ Rebecca West, Black Lamb and Grey Falcon, Penguin, 1994, p. 827
30. ^ Rebecca West, “My Religion” in My Religion, edited by Arnold Bennett, Appleton, 1926. pp. 21-22]
31. ^ Rebecca West, “My Religion,” pp. 22-23
32. ^ Rebecca West, Letter to a Grandfather, Hogarth Press, 1933, p. 43
33. ^ Rebecca West, Letter to a Grandfather, p. 30
34. ^ Rebecca West, Black Lamb and Grey Falcon, pp. 827-28
35. ^ Rebecca West, "Can Christian faith survive this war?” interview conducted by the Daily Express, January 17, 1945
36. ^ Victoria Glendinning, Rebecca West: A Life, Knopf, 1987; p. 221
37. ^ Rebecca West, Letter dated June 22, 1952, to Margaret and Evelyn Hutchinson. Beinecke Rare Book and Manuscript Library
38. ^ Rebecca West, Survivors in Mexico, Yale, 2003, p. 81
39. ^ Bernard Schweizer, Rebecca West: Heroism, Rebellion, and the Female Epic, p. 71
40. ^ Bonnie Kime Scott, Refiguring Modernism: Postmodern Feminist Readings of Woolf, West, and Barnes (Vol. 2), Indiana University Press, 1995, p. 151
41. ^ Rebecca West, Black Lamb and Grey Falcon, p 172 ff
42. ^ Rebecca West, Black Lamb and Grey Falcon, p. 827
43. ^ Rebecca West, Black Lamb and Grey Falcon, p. 172
44. ^ Rebecca West, unpublished typescript, Mc Farlin Special Collections, University of Tulsa
45. ^ Rebecca West, Black Lamb and Grey Falcon, p. 579
46. ^ Bonnie Kime Scott, Refiguring Modernism (Vol. 2), p. 161
47. ^ Rebecca West, Woman as Artist and Thinker, iUniverse, 2005, p. 19
48. ^ Rebecca West, Letter to a Grandfather, p. 34
49. ^ Bernard Schweizer, Rebecca West: Heroism, Rebellion, and the Female Epic, p. 141
50. ^ Peter Wolfe, Rebecca West: Artist and Thinker, Southern Illinois, 1971, p. 12
51. ^ Rebecca West, "Mr. Chesterton in Hysterics." The Young Rebecca, ed. Jane Marcus, p. 219.
52. ^ Rebecca West, "Aren't men beasts." Sunday Telegraph, June 28, 1970.
53. ^ Rebecca West, The Court and the Castle',' Yale University Press, 1957, p. 5.
54. ^ Rebecca West, Rebecca. Black Lamb and Grey Falcon, Penguin 1994, p. 1102.
55. ^ Rebecca West, Black Lamb and Grey Falcon, p. 827.
56. ^ Rebecca West, "The man who told too much." Sunday Telegraph, June 11, 1978.
57. ^ Rebecca West, "The Novelist's Voice." Typescript housed at the McFarlin Library, University of Tulsa.
58. ^ Rebecca West, "The Novelist's Voice." Typescript housed at the McFarlin Library, University of Tulsa.
59. ^ Rebecca West, "Nabokov-jokey inquisitor." Sunday Telegraph, February 21, 1971.
60. ^ Rebecca West, “World of Books: The Greek Way.” Sunday Times (UK), Aug. 23, 1942.
61. ^ Rebecca West, “Busy little worker bees.” Sunday Telegraph, Apr. 29, 1972.
62. ^ Rebecca West, Survivors in Mexico, Yale University Press, 2003, p. 25
63. ^ John J. O'Connor, "Moyers and a Provocative Dame Rebecca West." The New York Times, July 8, 1981.
64. ^ Robert, D. Kaplan, Balkan Ghosts (1994), p. 3
65. ^ From a copy of Cousin Rosamund with an afterword by Victoria Glendinning and published by Macmillan (London) in 1995
66. ^ First published in the UK by Macmillan in 1966, and published in the US by Viking Press also in 1966