"Life of Ma Parker" - это автобиографическая книга французской писательницы и журналистки Кэтрин Мэнфилд, впервые опубликованная в 1960 году. Она рассказывает о жизни и творчестве автора, включая ее жизнь во Франции во время Второй мировой войны, ее отношения с французскими писателями и поэтами того времени, а также ее путешествие в США в поисках вдохновения. В книге есть много личных откровений и забавных историй, которые делают чтение незабываемым. История Кэтрин, написанная доступным, элегантным и легким для чтения языком, представляет собой увлекательное чтение и является обязательной для поклонников творчества автора и всех любителей хорошей литературы.
Когда-то юная Кэтрин столкнула мир искусства и эротики с реальностью, поставив в центр сюжета истории о своей семейной жизни. Служанка Молли Паркер превратилась в этот мирскую героиню и запустила череду событий, которые продолжались на протяжении нескольких десятилетий.
Katherine Mansfield’s autobiographical masterpiece was revised by the author herself before it was published, and she may have removed many of her more intimate sections. Now we have them restored and published with the introduction she wrote for the Unabridged edition in 1925. For Mansfield this book represented a clandestine confession of being a lesbian, but readers discovering it after her death would understand its place as an original, fearless and poignant testament to an intense private life in a time when women still had to live dangerously in public. "It's not that I feel an overwhelming pity for my sex," Mansfield writes in her introduction to this 1996 edition of *The Life of My Sex*, "but broadly speaking I find most women who claim loudly to hate their sex are middle-aged dames, tired of their own tedious lives." With the defining works of her female friends Joan Huntington Brown, Mary Austin, A.L. Hinds, F. Marian Davies and other pioneers of progressive writing in England and America, Mansfield filled her room with books, collected those she admired, reviewed novels on the subject of divorce to arouse sympathy from her friend W. Somerset Maugham and searched the streets of London for lesbians among the lower social orders; a distant cousin may have been her partner in the Hallé Orchestra, but in interviews with ordinary women her interest revealed the vibrant world underneath ordinary domesticity. Readers may be reminded by Mansfield's disarming, overt honesty that when she signs her name in letters "K. M.", it is a pseudonym only used in public. Mansfield was a gifted writer of novels, short stories, plays and poetry; yet another facet of her art enables her to survive as one of the most convincing biographers of her age. Biographers are often the unfortunate collateral damage of strong personalities; an accidental relationship does not a biography make. As it happens, the telling bias of Mansfield's prose — continuous, breathless, headlong — makes this otherwise faultless version of herself a chronological fugue of the excesses which impressed her. Most limes condemned MS is documented in her novel Mr. & Mrs. Fennymon (1939), so any flavour of sensuality should invite further research into the alternative past which she made possible. Even failed monsters — like the embarrassment revealed by John Hamlyn in his catalogue of Mansfield campanne — may teach us about the ancient continent of cultural biography, unstudied and underlavelled material. Mansfeld herself attempted to map herself through the radical fictions of fictional love stories that surrounded her in London, her love affairs, and her belief in spiritual solidarity with young women distant from the parameters of masculine convention. Mansfilad hooks endoraught with original reading, making Ms Field a valuta classic of regionalling mixlure not of the literary pursuits which begun wartii of its poited forerunners such a Prescence SCR York. Nina Bayley, The Gay UK
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