Picture of author.

Elizabeth Bowen (1) (1899–1973)

Autor(a) de The Death of the Heart

Para outros autores com o nome Elizabeth Bowen, veja a página de desambiguação.

72+ Works 8,170 Membros 174 Reviews 16 Favorited

About the Author

Elizabeth Bowen, distinguished Anglo-Irish novelist, was born in Dublin in 1899, traveled extensively, lived in London, and inherited the family estate-Bowen's Court, in County Cork. Her account of the house, Bowen's Court (1942), with a detailed fictionalized history of the family in Ireland mostrar mais through three centuries, has charm, warmth, and insight. Seven Winters is a fragment of autobiography published in England in 1942. The "Afterthoughts" of the original edition are critical essays in which she discusses and analyzes, among others, such literary figures as Virginia Woolf, E. M. Forster, Katherine Mansfield, Anthony Trollope, and Eudora Welty. Bowen's stories, mostly about people of the British upper middle class, portray relationships that are never simple, except, perhaps, on the surface. Her concern with time and memory is a major theme. Beautifully and delicately written, her stories, with their oblique psychological revelations, are symbolic, subtle, and terrifying. A Time in Rome (1960) is her brilliant evocation of that city and its layered past. In 1948, Bowen was made a Commander of the British Empire. Bowen died in 1973. (Bowker Author Biography) mostrar menos

Obras de Elizabeth Bowen

The Death of the Heart (1938) 1,696 cópias
The Heat of the Day (1948) 1,103 cópias
The Last September (1929) 1,005 cópias
The House in Paris (1935) 887 cópias
Eva Trout (1968) 441 cópias
To the North (1932) 398 cópias
The Little Girls (1964) 382 cópias
A World of Love (1955) 349 cópias
The Hotel (1927) 223 cópias
Friends And Relations (1931) 171 cópias
A Time in Rome (1960) 160 cópias
Bowen's Court (1942) 95 cópias
The Demon Lover (1943) 60 cópias
English Novelists (1942) 46 cópias
The Shelbourne (1951) 43 cópias
Stories by Elizabeth Bowen (1959) 26 cópias
Collected impressions (1950) 24 cópias
Seven Winters (1942) 23 cópias
Pictures and conversations (1974) 23 cópias
Look at All Those Roses (1941) 22 cópias
Encounters : early stories (1923) 19 cópias
34 Short Stories (1957) — Editor — 14 cópias
The Cat Jumps (1949) 12 cópias
Early Stories (1950) 10 cópias
Afterthought (1962) 9 cópias
Emmeline (2008) 8 cópias
Selected Stories (1946) 6 cópias
The Good Tiger (1965) 6 cópias
Joining Charles (1929) 5 cópias
Erzählungen (2000) 4 cópias
A Day in the Dark (1966) 4 cópias
Mysterious Kor 3 cópias
Ann Lee's : & other stories (1926) 3 cópias
Sunday Afternoon 2 cópias
Green Holly 1 exemplar(es)
The Happy Autumn Fields 1 exemplar(es)
Las mujeres observadas 1 exemplar(es)
Reduced 1 exemplar(es)
anything 1 exemplar(es)
Unheil, das Männer anrichten (1991) 1 exemplar(es)
Contos Fantásticos 1 exemplar(es)
Pink May 1 exemplar(es)
Bowen Elizabeth 1 exemplar(es)
Spookverhalen 1 exemplar(es)
Maria 1 exemplar(es)

Associated Works

Orlando: A Biography (1928) — Posfácio, algumas edições10,682 cópias
Uncle Silas: A Tale of Bartram-Haugh (1864) — Introdução, algumas edições1,412 cópias
Frost in May (1933) — Introdução, algumas edições926 cópias
The Oxford Book of English Ghost Stories (1986) — Contribuinte — 547 cópias
The Oxford Book of Short Stories (1981) — Contribuinte — 513 cópias
The Penguin Book of Modern British Short Stories (1989) — Contribuinte — 432 cópias
Great Irish Tales of Horror: A Treasury of Fear (1995) — Contribuinte — 325 cópias
A Treasury of Short Stories (1947) — Contribuinte — 293 cópias
A World of Great Stories (1947) — Contribuinte — 263 cópias
Christmas Stories (Everyman's Library) (2007) — Contribuinte — 255 cópias
The Penguin Book of Modern Fantasy by Women (1995) — Contribuinte — 166 cópias
Stories by Katherine Mansfield (1956) — Editor; Introdução — 156 cópias
Black Water 2: More Tales of the Fantastic (1990) — Contribuinte — 153 cópias
The Penguin Book of Irish Fiction (1999) — Contribuinte — 152 cópias
The Virago Book of Ghost Stories (2006) — Contribuinte — 141 cópias
The Mammoth Book of Modern Ghost Stories (2007) — Contribuinte — 134 cópias
The Penguin Book of Irish Short Stories (1981) — Contribuinte — 132 cópias
The Penguin Book of Women's Humour (1996) — Contribuinte — 119 cópias
Classic Irish Short Stories (1957) 119 cópias
The Penguin Book of Modern Women's Short Stories (1990) — Contribuinte — 100 cópias
Great Irish Detective Stories (1993) — Contribuinte — 89 cópias
65 Great Spine Chillers (1988) — Contribuinte — 81 cópias
The Brave Little Goat of Monsieur Seguin (1866) — Contribuinte — 79 cópias
Chill Tidings: Dark Tales of the Christmas Season (2020) — Contribuinte — 72 cópias
The Oxford Book of Twentieth-Century Ghost Stories (1996) — Contribuinte — 71 cópias
Nightshade: 20th Century Ghost Stories (1999) — Contribuinte — 65 cópias
Love Stories (1983) — Contribuinte — 61 cópias
The Third Ghost Book (1955) — Contribuinte — 57 cópias
The Long Gaze Back: An Anthology of Irish Women Writers (2015) — Contribuinte — 57 cópias
The Second Fontana Book of Great Ghost Stories (1966) — Contribuinte — 56 cópias
Into the London Fog: Eerie Tales from the Weird City (2020) — Contribuinte — 52 cópias
The Norton Book Of Ghost Stories (1994) — Contribuinte — 50 cópias
Alfred Hitchcock's Fear and Trembling (1948) — Contribuinte — 49 cópias
Revenge: Short Stories by Women Writers (1986) — Contribuinte — 49 cópias
The Second Ghost Book (1952) — Introdução; Contribuinte — 48 cópias
The House of the Nightmare and Other Eerie Tales (1967) — Contribuinte; Autor, algumas edições47 cópias
An Omnibus of 20th Century Ghost Stories (1989) — Contribuinte — 45 cópias
Realms of Darkness (1985) — Contribuinte — 45 cópias
Modern Irish Short Stories (1957) — Contribuinte — 43 cópias
The Haunted Library: Classic Ghost Stories (2016) — Contribuinte — 42 cópias
The Anchor Book of New Irish Writing (2000) — Contribuinte — 39 cópias
Great Irish Stories of the Supernatural (1992) — Contribuinte — 39 cópias
The Fontana Book of Great Horror Stories (1966) — Contribuinte — 39 cópias
Modern English Short Stories (1939) — Contribuinte — 36 cópias
The Secret Self: A Century of Short Stories by Women (1995) — Contribuinte — 34 cópias
Haunters at the Hearth: Eerie Tales for Christmas Nights (2022) — Contribuinte — 31 cópias
Spirits of Christmas (1989) — Contribuinte — 31 cópias
The Old School: Essays by Divers Hands (1934) — Contribuinte — 30 cópias
Night Shadows: Twentieth-Century Stories of the Uncanny (2001) — Contribuinte — 29 cópias
Stories for the Dead of Night (1957) — Contribuinte — 28 cópias
The Stories of William Sansom (1963) — Introdução, algumas edições26 cópias
London Tales of Terror (1972) — Contribuinte — 26 cópias
Tomato Cain and other stories (1949) — Introdução — 18 cópias
Family: Stories from the Interior (1987) — Contribuinte — 15 cópias
The Black Cap: New Stories of Murder and Mystery (1928) — Contribuinte — 11 cópias
England forteller : britiske og irske noveller (1970) — Contribuinte — 10 cópias
A Roman Collection: Stories, Poems, and Other Good Pieces (1980) — Contribuinte — 8 cópias
Mysterious, Menacing and Macabre (1981) — Contribuinte — 8 cópias
Shudders (1929) — Contribuinte — 7 cópias
British and American Essays, 1905-1956 (1959) — Contribuinte — 7 cópias
Ellery Queen’s Eleven Deadly Sins (1991) — Contribuinte — 6 cópias
When Churchyards Yawn (1963) — Contribuinte — 6 cópias
Ghosts in Country Houses (1981) — Contribuinte — 5 cópias
The Best from Fantasy and Science Fiction: 2nd Series (1983) — Contribuinte — 5 cópias
Ghosts and Ghastlies (1976) — Contribuinte — 5 cópias
Twenty-Three Modern Stories (1963) — Contribuinte — 4 cópias
Horizon 21 (September 1941) — Contribuinte — 2 cópias
The Best British Short Stories of 1933 — Contribuinte, algumas edições2 cópias
Stories of Horror and Suspense: An Anthology (1977) — Contribuinte — 2 cópias
Stories of the Macabre (1976) — Contribuinte — 1 exemplar(es)
Uncle Silas ... With an introduction by Elizabeth Bowen — Introdução, algumas edições1 exemplar(es)
Gespenster — Contribuinte — 1 exemplar(es)


1001 (168) 1001 books (173) 1001 books you must read before you die (88) 19th century (96) 20th century (528) anthology (580) biography (105) British (348) British fiction (99) British literature (338) classic (253) classics (324) England (223) English (161) English literature (299) fantasy (281) feminism (96) fiction (3,594) gender (229) ghost stories (151) ghosts (117) gothic (143) historical fiction (194) horror (420) Ireland (221) Irish (236) Irish literature (217) literature (514) London (88) modernism (204) mystery (85) novel (735) read (237) short stories (1,066) to-read (1,426) UK (90) unread (190) Virago (90) Virginia Woolf (104) women (136)

Conhecimento Comum

Nome padrão
Bowen, Elizabeth
Nome de batismo
Cameron, Elizabeth Dorothea Cole Bowen
Outros nomes
Bowen, Bitha
Data de nascimento
Data de falecimento
Local de enterro
St Colman's Church, Farahy, County Cork, Ireland
Local de nascimento
Dublin, Ierland
Local de falecimento
Londen, Engeland, Groot-Brittannië
Locais de residência
Dublin, Ireland
Farahy, Ireland
Hythe, England, UK
Regent's Park, London, England, UK
Headington, Oxford, Oxfordshire, England, UK
Downe House School, Kent, England, UK
short story writer
Ritchie, Charles (lover)
Order of the British Empire (Commander, 1948)
Companion of Literature (1965)
Doctor of Letters, Trinity College, Dublin
Doctor of Letters, Oxford University (1956)
Lacy Martin Donnelly Fellow (1956)
Pequena biografia
Elizabeth Bowen was born in Dublin in 1899, the only child of an Irish lawyer and landowner. Her book Bowen's Court (1942) is the history of her family and their house in County Cork. Throughout her life, she divided her time between London and Bowen's Court, which she inherited. She had friends among the Bloomsbury Group, and was close to Rose Macaulay, who helped her find a publisher for her first book, a collection of short stories called Encounters (1923). During World War II, Elizabeth Bowen lived in London and worked for the British Ministry of Information. She received acclaim for her novels and short story collections, was awarded the CBE (Companion of the Order of the British Empire) in 1948, and was made a Companion of Literature by the Royal Society of Literature in 1965. She died in 1973.



After having failed at finishing The Diary of a Country Priest, I thought I would give this a try. Maybe it's the weather, but I didn't like this any better than the other, in fact I liked it less. I love how Bowen chooses her words. But I don't like the story she tells. So I gave up on this one too, except unlike the other that went back onto my TBR shelf for another day, this one goes into the giveaway pile.
dvoratreis | outras 3 resenhas | May 22, 2024 |
I should never write what had happened down. One's nature is to forget, and one ought to go by that. Memory is quite unbearable enough, but even so it leaves out quite a lot. It wouldn't let one down as gently, even, as that if it weren't more than half a fake—we remember to suit ourselves. [...] If one didn't let oneself swallow some few lies, I don't know how one would ever carry the past. Thank God, except at its one moment there’s never any such thing as a bare fact. Ten minutes later, half an hour later, one’s begun to gloze the fact over with a deposit of some sort. The hours I spent with thee dear love are like a string of pearls to me. But a diary (if one did keep it up to date) would come much too near the mark. One ought to secrete for sometime before one begins to look back at anything. Look how reconciled to everything reminiscences are. . . . Also, suppose somebody read it?

The discovery of a sentimental teenage diary catalyzes the plot of The Death of the Heart. Once it's discovered that recently orphaned Portia analyzes her feelings and is susceptible to sincere love, the adults in her life seek to "socialize" her by inuring her to feeling anything at all. In lieu of processing trauma, her brother and his wife advocate a sort of anaesthetization to any emotion rising above pique. Portia's free sincerity is meant to be constrained, folded under. Any loss or pain is meant to be "glozed over" with a varnish of falsity. But Bowen shows us that by editing certain facts from our memory and hiding the truth from ourselves and others we turn our lives into a fiction—a mere pantomime of life—which inevitably results in a sort of existential atrophy. That is, a death of the heart.
… (mais)
drbrand | outras 38 resenhas | May 14, 2024 |
Bowen is a gifted writer but drowns in her own subterranean world. Published in 1948, the style leans very heavily on description, a choice that apparently left less time for showing deeper insight into characters. For a novel to be character driven, the reader must be shown certainly not all, but enough, of not just the character’s motivations but any transformations. The book does a fairly good job of capturing a point in time, during WW11 London, where people of all walks of life felt uprooted and vulnerable, as the characters each reach out in their own way, fumbling blindly in the dark, for some kind of connection to others, no matter how desultory or unfulfilling. People are strange, families are annoying, world events intrude on lives, everyone has a backstory that for the most part remains hidden: this commonplace isn’t enough to warrant a novel.

The weakest part of the book is the character of Robert, the lover of the protagonist Stella: there was simply not enough development to allow him to be anything more than a vague representative of disenchantment, of a desperate desire for Something Else. His reveal is anticlimactic at best, an afterthought at worst. It isn’t so much that a reader may not like any of the characters (I have never understood why that should be an issue) it’s that it would be hard to care one way or another about what happens to them.

This book is neither a ‘thriller’ not anything approaching Woolf or Graham Greene, despite the front cover blurb. Despite some excellent passages, the concept of the book outshines its execution. There is enough promise in the book to encourage reading Bowen’s other work.
… (mais)
saschenka | outras 26 resenhas | Apr 29, 2024 |
"Meetings that do not come off keep a character of their own."

The first word people have used to describe for me Elizabeth Bowen's writing is often "difficult". I now see they are wrong. Where some minds find difficulty, those of us with clearer vision see rare intelligence. Bowen was a younger member of the Bloomsbury Group, often defined as a generational link between Virginia Woolf and Muriel Spark. She toys with the fragmented modernism of the former, while sinking her teeth into the detached British realism of the latter. It is the frisson of this combination that gives her work its unique voice.

The House in Paris takes place over one day, as 11-year-old Henrietta and 9-year-old Leopold pass through the home of Miss Naomi Fisher and her ailing mother. The children do not know each other; the orphaned Henrietta is en route to visit her grandmother, and needs a place to stop, while Leopold is to meet his mother for the first time today, after having been raised by family friends in Italy. Both children's unusual circumstances are joined by their respective mothers' friendships with Miss Fisher. In the repressive atmosphere of the house, secrets unfold amongst these four unnerved characters and their ultimate guest.

Bowen's style is perhaps best described as "detached", somewhere on that mid-20th century spectrum of writers whom I adore so, whose characters are financially "comfortable" but often on a downward trajectory, and whose speech - clipped yet romantic - invites the reader to fill in the silences. If you have tasted the sweet delights of Murdoch and Durrell, of Penelope Fitzgerald and Barbara Pym, seek comfort here. If your preferences lean in the other direction, Bowen may not be for you! Says one of the characters: "I cannot live in a love affair, I am busy and grasping. I am not English; you know I am nervous the whole time. I could not endure being conscious of anyone. Naomi is like furniture or the dark. I should pity myself if I did not marry her."

"The Present" takes up about half of this short novel, but the meat of Bowen's story is in the central section, "The Past". The true details of Naomi Fisher's youth, of Leopold's provenance, of Madame Fisher in her prime, are interspersed in the details of a love affair as delicate as a hothouse flower. Bowen tears at the fragile stitches of these characters, revealing flesh that is bruised and sore. The content of the book - and, in truth, sometimes its individual moments - could be found in a lesser soft romance novel of the period. But Bowen's prose refuses to be cowed. She slips between tenses, surprises us with changes in narrative voice and tone, and generally keeps the atmosphere on the thinnest ice.

Unsettling, but beautiful.
… (mais)
therebelprince | outras 19 resenhas | Apr 21, 2024 |



You May Also Like

Associated Authors


Also by

Tabelas & Gráficos