. Springhillian Oct 1919 - July 1920 New Series Vol. XII No. 1 - 4 . ent to merely describe Nuneaton and Coventry, but in SPRINGHILLIAN 19 Amos Barton the characters themselves under their real names were prin-cipals in a familiar tradition of the neighborhood, and Millys gravecould then be found in the quiet country churchyard. Sadness and sorrowwhich crept into her later life and which we see in some of her best worksare among the few external features which changed the original plan ofher compositions. So completely did it seem that her works were taken from peoplearound Nuneaton that she w
. Springhillian Oct 1919 - July 1920 New Series Vol. XII No. 1 - 4 . ent to merely describe Nuneaton and Coventry, but in SPRINGHILLIAN 19 Amos Barton the characters themselves under their real names were prin-cipals in a familiar tradition of the neighborhood, and Millys gravecould then be found in the quiet country churchyard. Sadness and sorrowwhich crept into her later life and which we see in some of her best worksare among the few external features which changed the original plan ofher compositions. So completely did it seem that her works were taken from peoplearound Nuneaton that she was accused of copying all the sermons, speeches,and prayers found in her works from her Aunt Elizabeth. However, theywere written as she says with hot tears as they surged up in my ownmind. Whatever her methods of obtaining her themes, plots and characters,they certainly belong to that stable class of literature made to last, andher stories are so naturally portrayed and so perfectly developed that theywill always remain as standards in the realm of novel 20 SPRINGHILLIAN Moonshine On the Rio
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