Abstract
It is customary, and quite practical, to talk of critical tendencies as “turns” – the critical turn, the cultural turn, the historicist turn, and so forth. On a slightly different scale it would seem apt to talk of a new Katherine Mansfield turn, a perspective that also embraces a certain poetic justice – it is now Katherine Mansfield’s turn. After decades of sometimes condescending, often sentimental marginalisation that can be traced back to Bloomsbury snobbery, imperial and gender hierarch...
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