Risultati di "Katherine Mansfield" in Tutte le categorie

Il titolo di questo libro è il titolo di una poesia di Coleridge che è il tema del più lungo dei racconti, pubblicati postumi, scritti dal 1908 al 1921, a solo due anni dalla morte prematura della scrittrice, di cui Virginia Woolf ha detto: "E' l'unica scrittura che io abbia mai invidiato". Il filo conduttore dei racconti, e forse della vita, dell'autrice, è il passaggio continuo dalla vita al sogno, o meglio da un mondo ad un altro, legati da fili sottilissimi, sempre sul punto di rompersi.

La straordinaria precarietà della vita, capace di raggelare l'animo con attimi di improvvisa angoscia per poi scaldare il cuore con folate di inattesa felicità, raccontata con incredibile ironia e delicatezza attraverso gli occhi di tre giovani donne. Letto da Rita Savagnone, voce storica, fra le altre, di Whoopi Goldberg, Elizabeth Taylor e Greta Garbo.

Atmosfere sospese ma vividissime e ricche di simboli fanno da palcoscenico alle protagoniste di questi tre racconti, donne intense e delicate, che affrontano le loro esistenze con l'innata e disarmante sensibilità tipica dell'universo femminile di ogni tempo. Letto da Rita Savagnone, grandissima doppiatrice italiana che ha dato voce, fra le altre, a Whoopi Goldberg, Elizabeth Taylor e Greta Garbo.

"È un aloe, Kezia" disse Linda. "Non fa mai fiori?" "Sì, bambina mia" disse la madre. Chinò la testa verso Kezia e, socchiudendo gli occhi, le sorrise: "Una volta ogni cento anni". È dal desiderio di dar voce alla terra natale, la Nuova Zelanda, "una terra sconosciuta da far guizzare per un istante davanti agli occhi del Vecchio Mondo", che tra il 1915 e il 1916 nasce "L'aloe", che Katherine Mansfield chiamava "il mio romanzo" e dal quale avrebbe poi tratto uno dei suoi racconti più intensi, "Preludio".

This is a story from the Classic Women's Short Stories collection.

This is a story from the Bliss & Other Stories collection.

In the realm of the short story, Katherine Mansfield established a highly original style. Undramatic, poetic and lyrical, her writing is exquisitely subtle in its treatment of human behaviour. When these 14 short stories were published in 1920, she had already effected a transformation in this form of fiction, and her influence has been deeply felt by subsequent writers.

What if the brightest charm hid the darkest truths beneath it? In Je ne Parle pas Français by Katherine Mansfield, you step into the mind of Raoul Duquette, a cynical Parisian narrator whose sharp observations, moral contradictions, and unsettling humor reveal far more about himself than about the people he judges.

A Dill Pickle is a 1917 short story by Katherine Mansfield. It was first published in the New Age on 4 October 1917. A revised version later appeared in Bliss and Other Stories. The characters and their relationship possibly were inspired by Mansfield's older sister Vera Margaret Beauchamp and her husband James Mackintosh Bell. A man and a woman who used to be romantically involved meet by chance in a tea-house not having seen each other for about six years.

Psychology is a 1920 short story by Katherine Mansfield. It was first published in Bliss and Other Stories. A man visits a woman for tea. He tells her this is the only place he pays attention to in terms of its furniture and so on. He also loves her 'little boy'. They then talk about the state of the novel as a literary genre - coming to the conclusion that the psycho-novel is shoddy. She feels anguished about possibly having failed in not following suit with that genre however, and he leaves...

What if a single day could strip away every comforting illusion? In “Revelations” by Katherine Mansfield, a woman’s carefully constructed sense of self is quietly undone as she moves through a series of encounters that force her to confront truths she would rather avoid. Set against the routines of social obligation and polite interaction, the story follows an emotional shift that unfolds not through dramatic action, but through subtle perception and inward reckoning.

What does it mean to escape when love, obligation, and habit quietly close in? In “The Escape” by Katherine Mansfield, a quiet domestic moment becomes the stage for an unspoken emotional reckoning between a husband and wife. As they prepare for an evening out, small gestures, clipped remarks, and inner reflections reveal the tensions beneath their long-standing marriage. What appears outwardly calm is charged with resentment, fatigue, and the desire—felt by both—for freedom from roles that no longer bring comfort.

A young English woman travels alone for the first time, eager to begin a new position abroad and convinced of her independence. Armed with good intentions and polite trust, she navigates foreign streets, unfamiliar customs, and her own expectations of kindness and respect. As the journey unfolds, small encounters and seemingly harmless gestures begin to carry an undercurrent of unease. The governess’s idealism is quietly tested, and her innocence leaves her vulnerable to misunderstandings she is not yet equipped to recognize.

You step into the fragile inner life of Ada Moss, a woman clinging to dignity, memory, and fading hopes as her world quietly closes in around her. Once surrounded by admiration and applause, Ada now drifts through a city that feels increasingly cold and indifferent, where familiar faces blur and kindness becomes uncertain. As she moves from place to place, moments of pride, desperation, and self-deception flicker like scenes in a fading film.

Two former lovers meet again in a quiet drawing room, where politeness masks longing, hesitation, and unspoken desire. Every pause, every gesture, every carefully chosen word becomes charged with meaning as memory and emotion press against the fragile calm of the present moment. Beneath the surface of casual conversation, old feelings stir—regret, attraction, and the ache of what was never fully said.

Two young siblings—Sun and Moon—eagerly await a grand evening party held by the adults in their home, convinced it will be the most exciting event of their lives. As preparations unfold and the house fills with lights, music, and unfamiliar guests, the children drift between anticipation and confusion. Their innocent expectations slowly collide with the rules and indifference of the adult world, reshaping how they see the celebration—and each other.

You follow a respected, self-assured teacher whose orderly world begins to fracture beneath the surface. As Mr. Peacock moves through the routines of his day—his classroom, his colleagues, his home—small disturbances ripple outward, revealing tensions he would rather ignore. Beneath his cultivated manners and professional authority lies a growing sense of unease and emotional isolation.

In Feuille d’Album by Katherine Mansfield, a shy and socially awkward young man observes the woman who lives across from him, constructing an entire emotional world from brief glances and silent longing. His affection grows not through conversation or action, but through careful watching and inward reflection.

In A Dill Pickle by Katherine Mansfield, a chance meeting in a café brings together two former lovers whose lives have taken very different paths. As they sit across from one another, polite conversation gives way to memory, regret, and subtle emotional power shifts. What begins as nostalgia slowly reveals deeper truths about ego, control, and the quiet wounds left by emotional neglect. Through fragmented dialogue and unspoken tension, Mansfield exposes how love can be distorted by self-absorption, and how one voice can dominate while another fades into silence.

follow Robert Salesby, a man who has carefully set aside his own desires in order to care for his fragile, demanding wife. In a quiet European hotel meant for rest and recovery, daily routines unfold with delicate precision—meals, walks, silences—each masking an undercurrent of exhaustion and unspoken resentment. As Robert moves through his days with practiced patience, the strain of self-denial begins to surface, revealing the quiet cost of love built on sacrifice alone.