Rebecca West

Source: Wikipedia, the free encyclopedia.
For the Ibsen character, see Rosmersholm.

Madame Yevonde
BornCicily Isabel Fairfield
(1892-12-21)21 December 1892
London, England
Died15 March 1983(1983-03-15) (aged 90)
London, England
OccupationWriter
ChildrenAnthony West

Dame Cicily Isabel Fairfield

CBE in 1949,[1] and DBE in 1959;[2] in each case, the citation reads: "writer and literary critic". She took the pseudonym "Rebecca West" from the rebellious young heroine in Rosmersholm by Henrik Ibsen. She was a recipient of the Benson Medal
.

Biography

Rebecca West was born Cicily Isabel Fairfield

George Watson's Ladies College. She had to leave school in 1907 due to a bout of tuberculosis.[7] She chose not to return after recovering from the illness, later describing her schooling at Watson's as akin to a "prison".[8]

West had two older sisters.

Freewoman and the Clarion, drumming up support for the suffragette cause.[5]

Affairs and motherhood

In September 1912, West accused the famously libertine writer H. G. Wells of being "the Old Maid among novelists." This was part of a provocative review of his novel Marriage published in Freewoman,[11] an obscure and short-lived feminist weekly review. The review attracted Wells's interest and an invitation to lunch at his home. The two writers became lovers in late 1913, despite Wells being both married and twenty-six years older than West.[12] Their 10-year relationship produced a son, Anthony West, born on 4 August 1914. Wells was behind her move to Marine Parade, Leigh-on-Sea in Essex, where she lived between 1917 and 1919.[13][14] Their friendship lasted until Wells's death in 1946.

West is also said to have had relationships with Charlie Chaplin, newspaper magnate Lord Beaverbrook,[15] and journalist John Gunther.[16]

Early career and marriage

West established her reputation as a spokeswoman for feminist and socialist causes and as a critic, turning out essays and reviews for

Arthur Schlesinger Jr., among many other significant figures of the day. Her lifelong fascination with the United States culminated in 1948 when President Truman presented her with the Women's Press Club Award for Journalism, calling her "the world's best reporter."[17]

In 1930, at the age of 37, she married a banker, Henry Maxwell Andrews, and they remained nominally together, despite one public affair just before his death in 1968.

Rolls-Royce and a grand country estate, Ibstone House, in the Chiltern Hills of southern England. During World War II
, West housed Yugoslav refugees in the spare rooms of her blacked-out manor, and she used the grounds as a small dairy farm and vegetable plot, agricultural pursuits that continued long after the war had ended.

Later life

As West grew older, she turned to broader political and social issues, including mankind's propensity to inflict violent injustice on itself. Before and during World War II, West travelled widely, collecting material for books on travel and politics. In 1936–38, she made three trips to Yugoslavia, a country she came to love, seeing it as the nexus of European history since the late Middle Ages. Her non-fiction masterpiece, Black Lamb and Grey Falcon is an amalgamation of her impressions from these trips. New York Times reviewer Katherine Woods wrote: "In two almost incredibly full-packed volumes one of the most gifted and searching of modern English novelists and critics has produced not only the magnification and intensification of the travel book form, but, one may say, its apotheosis." West was assigned by Ross' magazine to cover the Nuremberg trials for The New Yorker, an experience she memorialized in the book A Train of Powder. In 1950, she was elected a Foreign Honorary Member of the American Academy of Arts and Sciences.[20] She also went to South Africa in 1960 to report on apartheid in a series of articles for The Sunday Times, particularly regarding a prominent trial for a seditious uprising aiming to establish Communist rule. She accidentally misidentified a South African judge[21] for some questions put by another judge and was sued for libel along with the Sunday Times whose editor, Harry Hodson, failed to support West.[22] She wrote "My problem is complicated by the fact that the defence, the people who would naturally be against the Judge and for me, are mostly Communist and won't lift a finger for me. It worries me a lot. It's so hard to work with this hanging over me." She felt her only support was her friends, the anti-apartheid politician Bernard Friedman and his wife, with whom she stayed in Johannesburg. "I will get over this case. But it isn't easy to feel that some people are for no reason that you know of possessed by an intention to ruin you; and I also felt I was letting you down in South Africa. I have been deeply grateful for all the kindness and sympathy you have shown me and I thought of Tall Trees as a warm place in a chilly world."[22]

She travelled extensively well into old age. In 1966 and 1969, she undertook two long journeys to Mexico, becoming fascinated by the indigenous culture of the country and its mestizo population. She stayed with actor Romney Brent in Mexico City and with Katherine (Kit) Wright, a long-time friend, in Cuernavaca.[23]

Old age

Her husband became both sleepy and inattentive as he got older. The sleepiness led to a car accident where no one was hurt but Henry was charged with dangerous driving. He became obsessed with the Norwegian ballerina Gerd Larsen; he would refuse to travel with West, instead preferring to return to London to be with Larsen. West initially considered this to be purely her husband's infatuation, but came to think that Larsen was driven by money. At her husband's funeral West had the upsetting problem of Larsen's request to be among the mourners, even though she had only known him for 18 months. Henry's will left £5,000 for Larsen.[19] After her husband's death in 1968, West discovered that he had been unfaithful with other women.[19]

After she was widowed, she moved to London, where she bought a spacious apartment overlooking

Queen Victoria
's long reign, which was a watershed in many cultural and political respects.

At the same time, West worked on sequels to her autobiographically inspired novel The Fountain Overflows (1957); although she had written the equivalent of two more novels for the planned trilogy, she was never satisfied with the sequels and did not publish them. She also tinkered at great length with an autobiography, without coming to closure, and started scores of stories without finishing them. Much of her work from the late phase of her life was published posthumously, including Family Memories (1987), This Real Night (1984), Cousin Rosamund (1985), The Only Poet (1992), and Survivors in Mexico (2003). Unfinished works from her early period, notably Sunflower (1986) and The Sentinel (2001) were also published after her death, so that her oeuvre was augmented by about one third by posthumous publications.

Relationship with her son

West's relationship with her son, Anthony West, was not a happy one. The rancour between them came to a head when Anthony, himself a gifted writer, his father's biographer (H. G. Wells: Aspects of a Life [1984]), and a novelist, published Heritage (1955), a fictionalised autobiography. West never forgave her son for depicting in Heritage the relationship between an illegitimate son and his two world-famous, unmarried parents, and for portraying the mother in unflattering terms. The depiction of West's alter ego in Heritage as a deceitful, unloving actress (West had trained as an actress in her youth) and poor caregiver so wounded West that she broke off relations with her son and threatened to sue any publisher who would bring out Heritage in England. She suppressed an English edition of the novel, which was only published there after her death, in 1984. Although there were temporary rapprochements between her and Anthony, a state of alienation persisted between them, causing West grief until her dying hour. She fretted about her son's absence from her deathbed, but when asked whether he should be sent for, answered: "perhaps not, if he hates me so much."[26]

Death

West's grave in Brookwood Cemetery

West suffered from failing eyesight and high blood pressure in the late 1970s, and became increasingly frail. Her last months were mostly spent in bed, at times delirious and other times lucid; she complained that she was dying too slowly.[26] She died on 15 March 1983, and is buried at Brookwood Cemetery, Woking.[27]

Upon hearing of her death, William Shawn, then editor in chief of The New Yorker, said:

Rebecca West was one of the giants and will have a lasting place in English literature. No one in this century wrote more dazzling prose, or had more wit, or looked at the intricacies of human character and the ways of the world more intelligently.[17]

She is honoured with a blue plaque at Hope Park Square, Edinburgh, her childhood home which also provided the setting for her novel The Judge.[28]

Politics

West grew up in a home filled with discussions of world affairs. Her father was a journalist who often involved himself in controversial issues. He brought home Russian revolutionaries and other political activists, and their debates helped to form West's sensibility, which took shape in novels such as The Birds Fall Down, set in pre-revolution Russia.[29] But the crucial event that moulded West's politics was the Dreyfus affair.[30] The impressionable Rebecca learned early on just how powerful was the will to persecute minorities and to subject individuals to unreasonable suspicion based on flimsy evidence and mass frenzy.[31] West had a keen understanding of the psychology of politics, how movements and causes could sustain themselves on the profound need to believe or disbelieve in a core of values—even in contradiction of reality.[32]

Although she was a militant feminist and active suffragette, and published a perceptive and admiring profile of Emmeline Pankhurst, West also criticised the tactics of Pankhurst's daughter, Christabel, and the sometimes doctrinaire aspects of the Pankhursts' Women's Social and Political Union (WSPU).[33]

The first major test of West's political outlook was the Bolshevik Revolution. Many on the left saw it as the beginning of a new, better world, and the end of the crimes of capitalism. West regarded herself as a member of the left, having attended Fabian socialist summer schools as a girl. Yet to West, both the Revolution and the revolutionaries were suspect. Even before the Bolsheviks took power in October 1917, West expressed her doubts that events in Russia could serve as a model for socialists in Britain or anywhere else.[5][34]

West paid a heavy price for her cool reaction to the Russian Revolution; her positions increasingly isolated her. When Emma Goldman visited Britain in 1924 after seeing Bolshevik violence firsthand, West was exasperated that British intellectuals ignored Goldman's testimony and her warning against Bolshevik tyranny.[35]

For all her censures of communism, however, West was hardly an uncritical supporter of Western democracies. Thus in 1919–1920, she excoriated the US government for deporting Goldman and for the infamous

Republican Spain
, and she gave money to the Republican cause.

A staunch

Foreign Office.[38] Writing in her diary, West mentioned that Sargent had persuaded her that "the recognition of Tito was made by reason of British military necessities, and for no other reason." Following Sargent's claim, she described her decision not to publish the story as an expression of "personal willingness to sacrifice myself to the needs of my country."[39] After the war, West's anti-Communism hardened as she saw Poland, Czechoslovakia, Hungary
, and other Eastern and Central European states succumb to Soviet domination.

In 1951 she provided a critical review of Alistair Cooke's sympathetic portrait of Alger Hiss during his postwar trials from a classical liberalism point of view.[40] It is not surprising in this context that West reacted to US Senator Joseph McCarthy differently from her colleagues. They saw a demagogue terrorising liberals and leftists with baseless accusations of Communist conspiracy. West saw an oaf blundering into the minefield of Communist subversion. For her, McCarthy was right to pursue Communists with fervour, even if his methods were roughshod, though her mild reaction to McCarthy provoked powerful revulsion among those on the left and dismay even among anti-Communist liberals. She refused, however, to amend her views.[41]

Although West's anti-communism earned the high regard of conservatives, she never considered herself one of them. In postwar Britain, West voted

Callaghan government. West admired Margaret Thatcher, not for Thatcher's policies, but for Thatcher's achievement in rising to the top of a male-dominated sphere.[42]
She admired Thatcher's willingness to stand up to trade union bullying.

In the end, West's anti-communism remained the centrepiece of her politics because she so consistently challenged the communists as legitimate foes of the status quo in capitalist countries. In West's view, communism, like fascism, was merely a form of authoritarianism. Communists were under party discipline, and therefore could never speak for themselves; West was a supreme example of an intellectual who spoke for herself, no matter how her comments might injure her. Indeed, few writers explicitly acknowledged how much West's embrace of unpopular positions hurt her on the left. A whole generation of writers abandoned West and refused to read her, as Doris Lessing suggested.[43]

Religion

West's parents had her

Providence. Her contribution to Virginia Woolf's Hogarth Letters Series, Letter to a Grandfather (1933), is a declaration of "my faith, which seems to some unfaith"[49] disguised as philosophical fiction. Written in the midst of the Great Depression, Letter to a Grandfather traces the progressive degeneration of the notion of Providence through the ages, concluding skeptically that "the redemptive power of divine grace no longer seemed credible, nor very respectable in the arbitrary performance that was claimed for it."[50] As for the Atonement, Black Lamb and Grey Falcon is in part meant as a refutation of that very doctrine, which she saw as having sparked a fatal obsession with sacrifice throughout the Christian era and, specifically, as having prompted Neville Chamberlain to formulate his policy of appeasement, which she vehemently opposed. She wrote:

All our Western thought is founded on this repulsive pretence that pain is the proper price of any good thing ... [Augustine] developed a theory of the Atonement which was pure nonsense, yet had the power to convince ... This monstrous theory supposes that God was angry with man for his sins and that He wanted to punish him for these, not in any way that might lead to his reformation, but simply by inflicting pain on him; and that He allowed Christ to suffer this pain instead of man and thereafter was willing on certain terms to treat man as if he had not committed these sins. This theory flouts reason at all points, for it is not possible that a just God should forgive people who are wicked because another person who was good endured agony by being nailed to a cross.[51]

World War II shocked her into a more conventional belief: "I believe if people are looking for the truth, the truth of the Christian religion will come out and meet them."[52] In the early 1950s, she thought she had a mystical revelation in France and actively tried to convert to Catholicism.[53] There was a precedent in her family for this action, as her sister, Letitia, had earlier converted to Catholicism, thereby causing quite a stir, but West's attempt was short-lived, and she confessed to a friend: "I could not go on with being a Catholic ... I don't want, I can't bear to, become a Graham Greene and Evelyn Waugh, and I cannot believe that I am required to pay such a price for salvation."[54] Her writings of the 1960s and early 1970s again betray a profound mistrust towards God: "The case against religion is the responsibility of God for the sufferings of mankind, which makes it impossible to believe the good things said about Him in the Bible, and consequently to believe anything it says about Him."[55]

Alongside her fluctuating Christianity, West was fascinated with

Manichaeanism.[56] She describes the Manichean idea that the world is a mixture of two primeval kingdoms, one of light the other of darkness, as an "extremely useful conception of life" affirming that a "fusion of light and darkness" is "the essential human character."[57] On the other hand, West criticised "the strictly literal mind of the founder [of Manichaeanism] and his followers" and what she perceived as the meanness of Christian heretics who adopted Manichaean ideas.[58] West states that "the whole of modern history could be deduced from the popularity of this heresy in Western Europe: its inner sourness, its preference for hate over love and for war over peace, its courage about dying, its cowardice about living." Regarding the suppression of Manichaean heresies by the Christian authorities West says that whilst "it is our tendency to sympathise with the hunted hare... much that we read of Western European heretics makes us suspect that here the quarry was less of a hare than a priggish skunk."[58] Nonetheless, Manichean influence persists in an unpublished draft of West's own memoirs where she writes: "I had almost no possibility of holding faith of any religious kind except a belief in a wholly and finally defeated God, a hypothesis which I now accept but tried for a long time to reject, I could not face it."[59]

West's interest in Manichaeanism reflects her lifelong struggle with the question of how to deal with dualisms. At times she appears to favour the merging of opposites, for which Byzantium served as a model: "church and state, love and violence, life and death, were to be fused again as in Byzantium."[60] More dominant, however, was her tendency to view the tensions generated in the space between dualistic terms as life-sustaining and creative; hence, her aversion to homosexuality and her warning not to confuse the drive for feminist emancipation with the woman's desire to become like a man. Her insistence on the fundamental difference between men and women reveals her essentialism,[61] but it also bespeaks her innate Manichaean sensibility. She wanted respect and equal rights for women, but at the same time she required that women retain their specifically feminine qualities, notably an affinity with life: "Men have a disposition to violence; women have not. If one says that men are on the side of death, women on the side of life, one seems to be making an accusation against men. One is not doing that."[62] One reason why she does not want to make an accusation against men is that they are simply playing their assigned role in a flawed universe. Only love can alleviate destructive aspects of the sex-antagonism: "I loathe the way the two cancers of sadism and masochism eat into the sexual life of humanity, so that the one lifts the lash and the other offers blood to the blow, and both are drunken with the beastly pleasure of misery and do not proceed with love's business of building a shelter from the cruelty of the universe."[63] In addition to the operations of love, female emancipation is crucial to removing the moral, professional, and social stigma associated with the notion of the "weaker sex," without trying to do away altogether with the temperamental and metaphysical aspects of the gender dualism itself.[citation needed] Thus, the "sex war" described in West's early short story "Indissoluble Matrimony" (1914) elevates the female character, Evadne, in the end because she accepts the terms of the contest without superficially trying to "win" that war.

The task of reconciling dualisms can also be seen in West's political propensities. As

Reclus brothers [famous French anarchists] urged her to revolt against such pessimistic determinism. West's characteristically heroic personal and historic vision is a result of these two contending forces."[64] West's conviction that humanity will only fulfill its highest potentials if it adheres to the principle of process reflects the same preoccupation: "Process is her most encompassing doctrine," states Peter Wolfe. "Reconciling her dualism, it captures the best aspects of the male and female principles."[65]

Cultural references

Long time book reviewer and senior editor at Time, Whittaker Chambers, considered West "a novelist of note ... a distinguished literary critic ... above all ... one of the greatest of living journalists."[5]

Virginia Woolf questioned Rebecca West being labelled as an "arrant feminist" because she offended men by saying they are snobs in chapter two of A Room of One's Own: "[W]hy was Miss West an arrant feminist for making a possibly true if uncomplimentary statement about the other sex?"

Bill Moyers's interview "A Visit With Dame Rebecca West," recorded in her London home when she was 89, was aired by PBS in July 1981. In a review of the interview, John O'Connor wrote that "Dame Rebecca emerges as a formidable presence. When she finds something or somebody disagreeable, the adjective suddenly becomes withering."[66]

West's first novel, The Return of the Soldier, was turned into a major motion picture in 1982, directed by Alan Bridges, starring Alan Bates, Glenda Jackson, and Julie Christie. More recently, an adaptation of The Return of the Soldier for the stage by Kelly Younger titled Once a Marine took West's theme of shell-shock-induced amnesia and applied it to a soldier returning from the war in Iraq with PTSD.

There have been two plays about Rebecca West produced since 2004. That Woman: Rebecca West Remembers, by Carl Rollyson, Helen Macleod, and Anne Bobby, is a one-woman monologue in which an actress playing Rebecca West recounts her life through some of her most famous articles, letters, and books. Tosca's Kiss, a 2006 play by Kenneth Jupp, retells West's experience covering the Nuremberg trials for The New Yorker.

Robert D. Kaplan's influential book Balkan Ghosts (1994) is an homage to West's Black Lamb and Grey Falcon (1941), which he calls "this century's greatest travel book."[67]

In February 2006, BBC broadcast a radio version of West's novel The Fountain Overflows, dramatized by Robin Brook, in six 55-minute installments.

Bibliography

Library resources about
Rebecca West
By Rebecca West

Fiction

Non-fiction

  • 1916 – Henry James
  • 1928 – The Strange Necessity: Essays and Reviews, a blend of modernist literary criticism and cognitive science, including a long essay explaining why West disliked James Joyce's Ulysses, though she judged it an important book
  • 1931 – Ending in Earnest: A Literary Log
  • 1932 – Arnold Bennett Himself, John Day
  • 1933 – St. Augustine, first psycho-biography of the Christian Church Father
  • 1934 – The Modern Rake's Progress (co-authored with cartoonist David Low)
  • 1941 – Black Lamb and Grey Falcon, a 1,181-page classic of travel literature, giving an account of Balkan history and ethnography, and the significance of Nazism, structured around her trip to Yugoslavia in 1937
  • 1949 – The Meaning of Treason , edit new 1964 – The New Meaning of Treason
  • 1955 – A Train of Powder
  • 1958 – The Court and the Castle: some treatments of a recurring theme, excellent revisionist interpretations of literary classics, including Hamlet and Kafka's stories
  • 1963 – The Vassall Affair
  • 1982 – 1900, cultural history and fascinating "thick description" of this pivotal year
  • 1982 – The Young Rebecca, West's early, radical journalism for The Freewoman and Clarion, edited by Jane Marcus
  • 1987 – Family Memories: An Autobiographical Journey, West's autobiographical musings which remained unpublished during her life, assembled and edited by Faith Evans
  • 2000 – The Selected Letters of Rebecca West, edited by Bonnie Kime Scott
  • 2003 – Survivors in Mexico,[71] posthumous work about West's two trips to Mexico in 1966 and 1969, edited by Bernard Schweizer
  • 2005 – Woman as Artist and Thinker, re-issues of some of West's best essays, together with her short-story "Parthenope"
  • 2010 – The Essential Rebecca West: Uncollected Prose,[72]

Select criticism and biography

References

  1. ^ The London Gazette, 3 June 1949, Supplement: 38628, p. 2804.
  2. ^ The London Gazette, 30 December 1958, Supplement: 41589, p. 10.
  3. ^ Encyclopedia Britannica, 17 December 2018
  4. ^ Glendinning 1987, p. 9
  5. ^ a b c d e Chambers, Whittaker (8 December 1947). "Circles of Perdition: The Meaning of Treason". Time. Retrieved 26 March 2017.
  6. ^ Glendinning 1987, pp. 21–22
  7. ^ Rollyson 1996, p. 29
  8. ^ West, Rebecca (22 January 1916). "The World's Worst Failure". The New Republic.
  9. ^ Rollyson 1996, pp. 418–27
  10. ^ "Archives Hub". Archives Hub. Retrieved 4 April 2012.
  11. ^ West, Rebecca (19 September 1912). "Marriage". The Freewoman a Weekly Humanist Review. 2 (44): 346–348 – via Modernist Journals Project.
  12. ^ Ray, Gordon N. H.G. Wells & Rebecca West (New Haven: Yale University Press, 1974), pp. 1–32
  13. ^ Howeson, Louise (5 November 2022). "The house in Leigh where Dame Rebecca West lived with HG Wells' love child". Eastern Daily Press. Retrieved 7 November 2022.
  14. ^ Gibb, Lorna The Extraordinary Life of Rebecca West (Berkeley, CA: Counterpoint, 2014), pp. 66, 70
  15. ^ Rollyson 1996, pp. 100, 115
  16. ^ Schlesinger, Arthur Jr. (April 1997). "A Man From Mars". The Atlantic. pp. 113–118.
  17. ^ a b c Linda Charlton, "Dame Rebecca West Dies in London, The New York Times, 16 March 1983.
  18. ^ Nottingham Evening Post, 4 August 1924, p.3.
  19. ^
    ISBN 978-0230771499
    .
  20. ^ "Book of Members, 1780–2010: Chapter W" (PDF). American Academy of Arts and Sciences. Retrieved 29 July 2014.
  21. ^ "Lingua Franca Book Review". linguafranca.mirror.theinfo.org.
  22. ^ a b "Rebecca West and the Flowers of Evil". www.newenglishreview.org.
  23. ^ Rollyson 1996, pp. 353–9
  24. ^ Rollyson 1996, pp. 413–4
  25. ^ Jane Marcus, The Young Rebecca: Writings of Rebecca West 1911–17, Indiana University Press, 1982, p. x; Bonnie Kime Scott, Refiguring Modernism (Vol. 1), Indiana University Press, 1995, p. xli.
  26. ^ a b Rollyson 1996, p. 427
  27. ^ "Rebecca West". Necropolis Notables. The Brookwood Cemetery Society. Archived from the original on 11 June 2011. Retrieved 23 February 2007.
  28. ^ "Six Scotswomen 'overlooked' by history to be honoured". The Scotsman. Retrieved 28 April 2020.
  29. ^ Schweizer 2006, Rollyson, Carl p. 10
  30. ^ Rollyson 1996, p. 25
  31. ^ Rollyson 1996, p. 286
  32. ^ Rollyson 2005, pp. 51–52
  33. ISBN 978-0-253-23101-7
    .
  34. ^ Rollyson 2005, pp. 51–57
  35. ^ Glendinning 1987, pp. 105–8 Rollyson 2005, p. 53
  36. ^ Rebecca West, Introduction to Emma Goldman's My Disillusionment with Russia, Doubleday, 1923
  37. ^ Rebecca West, "The men we sacrificed to Stalin," Sunday Telegraph, n.d.
  38. ^ It was published posthumously in The Only Poet (1992), edited by Antonia Till, Virago, pp. 167–78.
  39. ISBN 9781453206867
    – via Google Books.
  40. ^ Book Review, West, Rebecca (1951) "Review of A Generation on Trial: U.S.A. v. Alger Hiss by Alistair Cooke," University of Chicago Law Review: Vol. 18: Iss. 3, p. 662-677. Article 18.
  41. ^ Rebecca West, "McCarthyism," U.S. News & World Report, 22 May 1953; "Miss West Files and Answer," The Herald Tribune, 22 June 1953, p. 12; "Memo from Rebecca West: More about McCarthyism," U.S. News & World Report, 3 July 1953, pp. 34–35
  42. ^ Rebecca West, "Margaret Thatcher: The Politician as Woman," Vogue, September 1979
  43. ^ Rollyson 2005, p. 54
  44. ^ London Metropolitan Archives, Bryanston Square St Mary, Register of Baptism, p89/mry2, Item 040
  45. ^ Schweizer 2002, pp. 72–76
  46. ISBN 9780140188479
    .
  47. ^ Rebecca West, "My Religion" in My Religion, edited by Arnold Bennett, Appleton, 1926. pp. 21–22
  48. ^ Rebecca West My Religion, pp. 22–23
  49. ^ West, Rebecca (1933). Letter to a Grandfather. Hogarth. p. 43.
  50. ^ West 1933, p. 30
  51. ^ West 1994, pp. 827–828
  52. ^ Rebecca West, "Can Christian faith survive this war?" interview conducted by the Daily Express, 17 January 1945
  53. ^ Glendinning 1987, p. 221
  54. ^ Rebecca West, Letter dated 22 June 1952, to Margaret and Evelyn Hutchinson. Beinecke Rare Book and Manuscript Library
  55. ^ Rebecca West, Survivors in Mexico, Yale, 2003, p. 81
  56. ^ Schweizer 2002, p. 71
  57. ^ West 1994, pp. 172, 186
  58. ^ a b West 1994, p. 172
  59. ^ Rebecca West, unpublished typescript, McFarlin Special Collections, University of Tulsa
  60. ^ West 1994, p. 579
  61. ^ Bonnie Kime Scott, Refiguring Modernism (Vol. 2), p. 161
  62. ^ Rebecca West, Woman as Artist and Thinker, iUniverse, 2005, p. 19
  63. ^ West 1933, p. 34
  64. ^ Schweizer 2002, p. 141
  65. ^ Peter Wolfe, Rebecca West: Artist and Thinker, Southern Illinois, 1971, p. 12
  66. ^ John J. O'Connor, "Moyers and a Provocative Dame Rebecca West." The New York Times, 8 July 1981.
  67. ^ Robert, D. Kaplan, Balkan Ghosts (1994), p. 3
  68. ^ Opening credit reads, "From a story by Rebecca West."
  69. ^ First published in the UK by Macmillan in 1966, and published in the US by Viking Press also in 1966.
  70. ^ From a copy of Cousin Rosamund with an afterword by Victoria Glendinning; Macmillan, 1995.
  71. ^ Rebecca West (18 October 2004). Bernard Schweizer (ed.). "Survivors in Mexico – West, Rebecca; Schweizer, Bernard – Yale University Press". Yalepress.yale.edu. Retrieved 4 April 2012.
  72. ^ "The Essential Rebecca West". Archived from the original on 3 February 2011. Retrieved 23 November 2010.

External links

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