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Dorothy M. Richardson's 'Dimple Hill' represents the penultimate volume of her acclaimed 'Pilgrimage' series, weaving a complex narrative that encapsulates the intimate journey of self-discovery of its protagonist, Miriam Henderson. Richardson employs a stream of consciousness technique, molding the narrative into a nuanced tapestry of interior monologue that borders on the poetic. Set against the societal background of early 20th-century England, 'Dimple Hill' continues to explore themes of personal autonomy and the delicate intricacies of human relationships. The literary context bears the imprint of modernist experimentation, where Richardson's stylistic innovations sit alongside her contemporaries Woolf and Joyce, advancing the novel as a form unto new, introspective horizons. Richardson's own experiences profoundly influenced her writing, and 'Dimple Hill' is no exception. A pioneer amongst female modernists, her work oscillates between autobiography and fiction, where her own search for identity and emancipation from the conventions of her time echoes through Miriam's narrative. Richardson's active engagement with feminist and societal issues of her era provides a backdrop that informs the existential and sociocultural exploration within the novel, further cementing her status as an integral voice in the canon of modernist literature. 'Dimple Hill' is recommended for readers who seek a profound literary experience, offering a dive into the depths of the protagonist's consciousness and the shifting sands of early modernism. Richardson's careful prose and profound psychological insights offer a rewarding challenge to the perceptive reader, encapsulating the essence of an era on the brink of change. For both scholars and enthusiasts of literary modernism, 'Dimple Hill' stands as a substantial and reflective study of the human psyche, capturing the essence of an individual's quest for meaning in an evolving world.

The English novelist Dorothy M. Richardson was a modernist pioneer of stream-of-consciousness fiction. Her novel sequence ‘Pilgrimage’ is an extraordinarily sensitive story, portrayed cinematically through the eyes of Miriam Henderson, an attractive and mystical New Woman. The unfinished 13-volume novel is now considered a significant work of literary modernism, exploring new formal methods to represent feminine consciousness. For the first time in publishing history, this eBook presents Richardson’s complete fictional works, with numerous illustrations, rare texts, detailed introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Richardson’s life and works * Concise introductions to the novels and other texts * All 13 novels, with individual contents tables * Features rare works appearing for the first time in digital publishing * Images of how the books were first published, giving your eReader a taste of the original texts * Excellent formatting of the texts * The complete short stories * Rare poems from periodicals, available in no other collection * Easily locate the poems or short stories you want to read * Explore Richardson’s non-fiction * Includes Richardson’s rare autobiographical pieces – available in no other collection * Special criticism section, with essays by Sinclair, Woolf and Lawrence, evaluating Richardson’s contribution to literature * Ordering of texts into chronological order and genres CONTENTS: Pilgrimage Pointed Roofs (1915) Backwater (1916) Honeycomb (1917) The Tunnel (1918) Interim (1919) Deadlock (1921) Revolving Lights (1923) The Trap (1925) Oberland (1927) Dawn’s Left Hand (1931) Clear Horizon (1935) Dimple Hill (1938) March Moonlight (1967) The Short Stories The Short Stories of Dorothy Richardson The Poetry The Poems of Dorothy Richardson The Non-Fiction The Quakers: Past and Present (1914) Gleanings from the Works of George Fox (1914) About Punctuation (1924) John Austen and the Inseparables (1930) The Autobiographical Pieces Autobiographical Sketches The Criticism The Novels of Dorothy Richardson (1918) by May Sinclair Review of ‘The Tunnel’ (1919) by Virginia Woolf The Future of the Novel (1923) by D. H. Lawrence Please visit www.delphiclassics.com to browse through our range of exciting titles or to purchase this eBook as a Parts Edition of individual eBooks

"Deadlock: Pilgrimage Vol. 6" by Dorothy M. Richardson is the penultimate installment in her groundbreaking modernist novel collection, "Pilgrimage." This painting continues the introspective adventure of its protagonist, Miriam Henderson, thru the complexities of her existence and the evolving global round her. As Miriam grapples with the societal changes of the early 20th century, Richardson employs her different move-of-attention style to in detail explore the individual's mind and emotions. "Deadlock" affords a nuanced portrayal of Miriam's relationships, aspirations, and inner conflicts, delving into the demanding situations confronted by means of a girl navigating the moving landscapes of feminism, identity, and societal expectations. The name "Deadlock" shows a feel of stasis or deadlock, shooting the essence of Miriam's battle to reconcile her individuality with societal norms. Richardson's narrative prowess shines as she weaves collectively difficult layers of notion and experience, presenting readers with a bright and immersive literary revel in. As a pivotal quantity within the "Pilgrimage" collection, "Deadlock" contributes to Richardson's legacy as a pioneering modernist author, providing a profound exploration of the human psyche and the changing dynamics of a swiftly evolving global.

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 explored 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

Pointed Roofs is the first installment in Dorothy M. Richardson’s Pilgrimage sequence of autobiographical novels. It is also one of the first novels identified with the modernist technique of stream of consciousness. Set in the early 1890s, Pointed Roofs centers on seventeen-year-old Miriam Henderson. After her family runs into financial troubles, Miriam is sent to Germany to teach English at a finishing school in Hanover. The narrative chronicles Miriam’s daily life at the school, as well as outings to the city and the countryside with the other teachers and pupils. All the while, it tells of her experience of living abroad, her attitude to the people around her, her future prospects, and her thoughts on religion, literature, and the status of women in society.

Dorothy Richardson was a major figure in twentieth-century literature. Her long, thirteen-volume work, Pilgrimage, is a landmark of European modernism. The Oxford Edition of Dorothy Richardson is the first authoritative version of her work. It includes a six-volume edition of Pilgrimage, a volume of her shorter fiction and poetry, a volume of her non-fiction, and three volumes of her collected letters. The edition includes a full scholarly apparatus in a form that is accessible to scholars, students, and the general reader. Pilgrimage (1915-1967) was Richardson's magnum opus. A semi-autobiographical narrative cycle, the first 'chapter-volume', Pointed Roofs, was published in 1915 and the last unfinished part, March Moonlight, in a posthumous collected edition in 1967. It was the first literary work to be described as 'stream of consciousness'--by May Sinclair in 1918--a phrase which came to serve as a description for a whole movement in early twentieth-century fiction. Known and admired by writers throughout the twentieth century, like many women modernists, Richardson had to wait until second wave feminism in the 1970s for proper critical recognition. Since then her reputation has gradually been re-established. The Oxford edition of her work is the culmination of several decades of scholarship and restores her to her rightful place in literary history. Volume IV presents Pilgrimage 1 & 2: Pointed Roofs and Backwater.

What happy intuition told the author of "Pilgrimage" to issue the book in these short installments? The process, you find as you read this volume, the third of the series, has been almost exactly timed to your capacity of assimilation. The sweetish-sour style and the strange, sensitive representations of a young English girl's impressions of her life are an acquired taste. "Pointed Roofs," with its flickering scenes of the German school where the girl goes as governess, was too insubstantial to stir the mind. "Backwater" might even have repelled you with its close sultry prison of the home to which she returns. But "Honeycomb" suddenly clarifies what the author is trying to do. Her idiom suddenly seems familiar, and the novel, slant at which she looks on life captures your imagination as a genuine artistic creation, and not as that trick which it might have seemed. The particular idiom and vision of this writer are the same as those of the makers of imagist verse. Miriam, the girl, sees the world as a stream of sensed pictures, in hard clear outlines, where the form is more significant than the content. In "Honeycomb" she is the governess in the English country house of a commonplace middle-class family. Nothing happens, outside of the children's lessons and a trip or two to town, except the arrival of quasi-smart people for a week-end. This is not, however, what happens to Miriam's vivid feeling. People, house, and furnishings dissolve together and then flow back to her in intense forms and colors, exciting or depressing the reflections of her brain. The story is of her quick impressions and the racing stream of her inner thoughts, her puzzles and desires. Her contact with people, with social forms, with everything around her are contacts with something alive, hurting her, doing something to her. It is not the objective facts that make up her life, but these intensely felt pictures of what goes on around her, and her own wondering mind, jumping from idea to idea as, restless and rebellious, it tries to burrow its way out of its squirrel-cage into reality. Nothing could be more uncannily real than these quick chains of thought which run through Miriam's mind. Once you have acclimated yourself, you find in this flow between sensed outer picture and inner reflection the very quality of experience, caught with a precision that makes you marvel. At least, it is the very fibre of sensitive youth, with its despair of happiness and its scorn of the grubbing world.It must have been passages like this that caused Wells to refer to Dorothy Richardson's novel as futuristic. Certain passages, like Miriam's walk on Regent Street, are pure imagism, exactly as the poets write it: "Flags of pavement flowing along-smooth clean gray squares and oblongs, faintly polished, shaping and drawing away-sliding into each other. . . . I am part of the dense smooth clean paving stone... gleaming under dark winter rain; shining under warm sunlit rain, sending up a fresh stony smell... always there... dark and light... dawn, stealing..." But "Honeycomb" is not verse masquerading as a novel. It is an honest narrative, searching, living-fantastic only to those who cannot feel these very modern ways of looking at the world. The author has simply had the audacity to tell her story of this sensitive girl, neither child nor woman, from the attitude and with the values that those gifted young poets feel who have made us recognize in their naive, cool vision of beauty, and in their sense of flowing life, new vistas of our own. This writer knows the cruelty of life as well as the high, clear, clean, fresh, fair things, for which her Miriam has so intense a love. I wonder if so completely feminine a novel as "Pilgrimage" has ever been written.--Randolph Bourne for "The Dial," Vol. 64.

Deadlock is the sixth in the author's 12 part opus, Pilgrimage.