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'Michael Field' (1884-1914) was the pseudonym of two women, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote together as 'lovers'. The large oeuvre contains poems, dramas, and a vast diary. Marion Thain recounts the development of a fascinating and idiosyncratic poetic persona, which became a self-reflexive study in aestheticism. The constructed life and work of 'Michael Field' is used here to deepen and complicate our understanding of many of the most distinctive aesthetic debates of the late nineteenth and early twentieth centuries; a process unified by the recurring engagement with theories of time and history that structures this book. This analysis of poetry, aestheticism and the fin de siecle, through the performance of 'Michael Field', has implications that reach far beyond an understanding of one poet's work. Scholars of both Victorian and modernist literature will learn much from this innovative and compelling study.

Acknowledgements page viii

Introduction: ‘something fierce, subtle, strange, singular’

1 The diaries and dramas: life-writing and the temporal patterns of

aestheticism

2 Long Ago: the male pseudonym, fin-de-siècle sexualities and

Sappho’s historical leap

3 Sight and Song: Botticelli and ekphrastic paradox

4 Underneath the Bough: dual authorship and lyric song

5 Wild Honey from Various Thyme: apian aestheticism and the lyric

book collection

6 The Catholic poetry: the spiritual and historical ‘turn’ of the

century

Conclusion: modernism and the fin de siècle

Notes

Bibliography of material: by Katharine Bradley and Edith

Cooper

General bibliography

Index

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　　'Michael Field' (1884–1914) was the pseudonym of two women,

the aunt and niece Katharine Bradley and Edith Cooper, who lived

and wrote together as 'lovers'. The large oeuvre contains poems,

dramas, and a vast diary. Marion Thain recounts the development of

a fascinating and idiosyncratic poetic persona, which became a

self-reflexive study in aestheticism. The constructed life and work

of 'Michael Field' is used here to deepen and complicate our

understanding of many of the most distinctive aesthetic debates of

the late nineteenth and early twentieth centuries; a process

unified by the recurring engagement with theories of time and

history that structures this book. This analysis of poetry,

aestheticism and the fin de siècle, through the performance of

'Michael Field', has implications that reach far beyond an

understanding of one poet's work. Scholars of both Victorian and

modernist literature will learn much from this innovative and

compelling study.

　　? The full-length study of this fascinating literary persona, the

pseudonym of two female writers ? Sets Michael Field in the context

of nineteenth-century literature and aestheticism ? Offers an

entirely fresh take on aetheticism and culture at the turn of the

century

书籍介绍

'Michael Field' (1884-1914) was the pseudonym of two women, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote together as 'lovers'. The large oeuvre contains poems, dramas, and a vast diary. Marion Thain recounts the development of a fascinating and idiosyncratic poetic persona, which became a self-reflexive study in aestheticism. The constructed life and work of 'Michael Field' is used here to deepen and complicate our understanding of many of the most distinctive aesthetic debates of the late nineteenth and early twentieth centuries; a process unified by the recurring engagement with theories of time and history that structures this book. This analysis of poetry, aestheticism and the fin de siecle, through the performance of 'Michael Field', has implications that reach far beyond an understanding of one poet's work. Scholars of both Victorian and modernist literature will learn much from this innovative and compelling study.