Photo de l'auteur

Emily Holmes Coleman (1899–1974)

Auteur de The Shutter of Snow

3 oeuvres 192 utilisateurs 8 critiques 2 Favoris

A propos de l'auteur

Œuvres de Emily Holmes Coleman

The Shutter of Snow (1930) 190 exemplaires
Het luik van sneeuw (2023) 1 exemplaire
Le Vantail de neige 1 exemplaire

Étiqueté

Partage des connaissances

Date de naissance
1899-01-22
Date de décès
1974-06-13
Sexe
female
Nationalité
USA
Lieu de naissance
Oakland, California, USA
Lieu du décès
Tivoli, New York, USA
Lieux de résidence
Oakland, California, USA
Paris, France
Tivoli, New York, USA
England, UK
Études
Wellesley College
Professions
Diarist
novelist
Relations
Goldman, Emma (boss)
Barnes, Djuna (friend)
Day, Dorothy (friend)
Organisations
Hayford Hall Circle
Courte biographie
Emily Holmes was born in Oakland, California. In 1920, she graduated from Wellesley College and in 1921 married Lloyd Ring Coleman, a psychologist. In 1926, she and her son moved to Paris, where she got a job as society editor for the Paris Tribune. Emily Holmes Coleman also worked for a year as Emma Goldman's secretary. Although Emily's papers reveal her to have been a prolific writer, her only published works were some articles for small magazines and her autobiographical novel, The Shutter of Snow (1930). However, historians and literary critics are still interested in the diaries she kept in Paris in the 1920s and 1930s, and in England in the 1940s through the 1960s. They reveal her relationships with literary friends such as Djuna Barnes, who wrote much of her novel Nightwood while staying with Emily Coleman and others at Peggy Guggenheim's country house, Hayford Hall. Emily wrote about John Ferrar Holms, Antonia White, Dylan Thomas, Phyllis Jones, George Barker, and many other friends and acquaintances. In 1944, Emily Holmes Coleman converted to the Roman Catholic faith and her life became focused on religion. She developed friendships with Dorothy Day and philosopher Jacques Maritain, and lived in a number of Catholic communities.

Membres

Critiques

brilliant description of mental illness
By sally tarbox on 26 Dec. 2011
Format: Paperback
Set in an American mental hospital in the 1920s, this is the story of a young woman suffering a bout of insanity following the birth of her child. Written in the third person, yet simultaneously as if by the patient herself, it tells of everyday life; interchanges with the staff and patients, activities in the hospital, and in paragraphs of poetic prose takes us inside the mind of Marthe.
The title refers both to the snow that features throughout as Marthe looks out of the window; and of course to her state of mind. A brilliant attempt to describe mental illness, Coleman was prompted to write this following her own time in such a hospital.… (plus d'informations)
 
Signalé
starbox | 7 autres critiques | Jul 10, 2016 |
very good profile(i think) of a mental breakdown.
½
 
Signalé
mahallett | 7 autres critiques | Nov 17, 2015 |
This short stream-of-consciousness novel was first published in 1930. It records the thoughts and feelings of a woman in a mental hospital, following a nervous breakdown. At the beginning, it feels disjointed, but the reader soon gets into the flow, and then the idiosyncrasies of the style work really well for the subject. By the end of this short novel, I was completely immersed, a participant in this woman’s experience. She’s no victim, even though she does harbor a few delusions. Why shouldn’t a woman be Jesus Christ this time around?… (plus d'informations)
 
Signalé
astrologerjenny | 7 autres critiques | Apr 25, 2013 |
As a young woman, in the 1920's, Coleman, after suffering a very high fever, became convinced she was Christ (all this is autobiographical) and spent a few months in Rochester State Hospital. [The Shutter of Snow] is her remarkable fictionalization of the experience. How to say this? With exquisite writing - I hesitate to say 'poetic' as this will condemn the book as 'too hard' for some - she captures the dissociated state of someone who has lost hold of acceptable reality. The style of writing, flowing and strange, conveys the fluid state of psychosis. A reader needn't attend to every word, it's best taken in as a series of felt images. After reading books like [One Flew Over the Cuckoo's Nest] it is a relief that this asylum, or the part Marthe Gail, the protagonist, is in anyway, is peopled with reasonably competent and kind (or at least, not unkind) staff for the most part and also with only the half-mad; everyone here experiences moments of total sanity, friendship, even a kind of gaiety; all are vulnerable, however, to losing it in the blink of an eye. It might irritate some that there is a minimum of punctuation, but I think it works with the situation. Here's an example of the writing, Coleman describing a new patient: Mrs Kemp had a badly used face. Her hair was pulled back from a red and uncomprehending forehead. Her mouth fell into her chin. She marched up and down the hall. Now she was no longer a symbol, she was a cello accompaniment to a dirge. She came like a tiger thieving and walked away from the theft. She came like a panther back and forth, raising a head at the end of the bars. And on the very last page, when Marthe is leaving the next morning, when she goes to collect her rings: The diamond sputtered in the sun going back, and she had it large upon her finger as she had had it long ago when she had first worn it and went self conscious down the street in the sun. ****1/2… (plus d'informations)
½
17 voter
Signalé
sibylline | 7 autres critiques | Aug 7, 2012 |

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Statistiques

Œuvres
3
Membres
192
Popularité
#113,797
Évaluation
4.0
Critiques
8
ISBN
7
Langues
1
Favoris
2

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