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Notes
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This is an extract from Richardson's posthumously published autobiography of the same name.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Related Works
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y
Myself When Young
Melbourne
:
Heinemann
,
1948
Z471507
1948
single work
autobiography
'The writer whom many of the critics call one of the greatest of novelists has here told the story of her own childhood and youth. When Henry (Ethel F. Lindesay Robertson) died she left all but completed a volume of autobiography concerned with her youth in Australia, her subsequent stay in Leipzig and the first years of her intensely happy marriage. Final details were available from the notes and diary of her husband, and these together with an essay on her work are added to complete the book.' (Publication summary)
Works about this Work
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“I Must Have a Mask to Hide Behind” : Signature, Imposture and Henry Handel Richardson
2011
single work
criticism
— Appears in: JASAL , Special Issue vol. 11 no. 1 2011; 'If the archive is, according to Derrida, a site of revelation and concealment, so too is the pseudonym, the 'false' proper name used to sign and thereby guarantee the 'true' authenticity of original works. This paper concerns itself with the double possibilities of the true writer and the fake name instantiated by Ethel Florence Lindesay Richardson's use of the pseudonym Henry Handel Richardson, and the concomitant economy of the secret and the disclosed in all that related to her authorial signature. Richardson's deployment of her male pseudonym (and the other signatures she used to distinguish and manage different literary labour) will be considered in the context of expatriate literary production and reception. This paper will suggest that where the masculine proper name was one way in which nineteenth century British women writers negotiated their literary marketplace, Richardson's pseudonym more particularly allowed her to mediate and control proliferating complexities of genre, mode and national identity.
Emerging from these material considerations, several other questions will be considered in light of Richardson's fiction, letters and autobiography. The question of pseudonym as a form of cross-gender disguise or performance and the attendant possibilities of female spectatorship/authorship will be addressed in light of Richardson's early naturalism and its relation to decadence and aestheticism.' (Author's abstract)
-
“I Must Have a Mask to Hide Behind” : Signature, Imposture and Henry Handel Richardson
2011
single work
criticism
— Appears in: JASAL , Special Issue vol. 11 no. 1 2011; 'If the archive is, according to Derrida, a site of revelation and concealment, so too is the pseudonym, the 'false' proper name used to sign and thereby guarantee the 'true' authenticity of original works. This paper concerns itself with the double possibilities of the true writer and the fake name instantiated by Ethel Florence Lindesay Richardson's use of the pseudonym Henry Handel Richardson, and the concomitant economy of the secret and the disclosed in all that related to her authorial signature. Richardson's deployment of her male pseudonym (and the other signatures she used to distinguish and manage different literary labour) will be considered in the context of expatriate literary production and reception. This paper will suggest that where the masculine proper name was one way in which nineteenth century British women writers negotiated their literary marketplace, Richardson's pseudonym more particularly allowed her to mediate and control proliferating complexities of genre, mode and national identity.
Emerging from these material considerations, several other questions will be considered in light of Richardson's fiction, letters and autobiography. The question of pseudonym as a form of cross-gender disguise or performance and the attendant possibilities of female spectatorship/authorship will be addressed in light of Richardson's early naturalism and its relation to decadence and aestheticism.' (Author's abstract)
Last amended 26 Jun 2006 16:08:50
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