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Elizabeth Bowen (1) (1899–1973)

Auteur de Les coeurs détruits

Pour les autres auteurs qui s'appellent Elizabeth Bowen, voyez la page de désambigüisation.

73+ oeuvres 8,118 utilisateurs 170 critiques 16 Favoris

A propos de l'auteur

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 afficher plus 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) afficher moins

Œuvres de Elizabeth Bowen

Les coeurs détruits (1938) 1,687 exemplaires
L'ardeur du jour (1948) 1,102 exemplaires
Dernier automne (1929) 999 exemplaires
The House in Paris (1935) 881 exemplaires
Eva Trout (1968) 437 exemplaires
To the North (1932) 396 exemplaires
Les Petites Filles (1964) 374 exemplaires
Un monde d'amour (1955) 344 exemplaires
The Hotel (1927) 220 exemplaires
Friends And Relations (1931) 170 exemplaires
A Time in Rome (1960) 158 exemplaires
Bowen's Court (1942) 94 exemplaires
The Demon Lover (1943) 60 exemplaires
English Novelists (1942) 46 exemplaires
The Heritage of British Literature (1983) 44 exemplaires
The Shelbourne (1951) 42 exemplaires
Bowen's Court & Seven Winters (1984) 36 exemplaires
Elizabeth Bowen's Irish Stories (1978) 33 exemplaires
Stories by Elizabeth Bowen (1959) 26 exemplaires
Collected impressions (1950) 24 exemplaires
Sept hivers à Dublin (1942) 23 exemplaires
Pictures and conversations (1974) 22 exemplaires
Anthony Trollope : a new judgement (1946) 22 exemplaires
Look at All Those Roses (1941) 21 exemplaires
Encounters : early stories (1923) 19 exemplaires
34 Short Stories (1957) — Directeur de publication — 14 exemplaires
The Cat Jumps (1949) 11 exemplaires
Early Stories (1950) 10 exemplaires
Afterthought (1962) 9 exemplaires
Emmeline (2008) 8 exemplaires
The Bazaar and Other Stories (2008) 8 exemplaires
The Good Tiger (1965) 6 exemplaires
Selected Stories (1946) 6 exemplaires
Joining Charles (1929) 5 exemplaires
Nine English short stories (1989) 5 exemplaires
A Day in the Dark (1966) 4 exemplaires
Erzählungen (2000) 4 exemplaires
Ann Lee's : & other stories (1926) 3 exemplaires
Mysterious Kor 3 exemplaires
Telling [short story] 2 exemplaires
Day in the Dark and Other Stories (1965) 2 exemplaires
Sunday Afternoon 2 exemplaires
Unheil, das Männer anrichten (1991) 1 exemplaire
Maria 1 exemplaire
Bowen Elizabeth 1 exemplaire
Pink May 1 exemplaire
Reduced 1 exemplaire
anything 1 exemplaire
Spookverhalen 1 exemplaire
Green Holly 1 exemplaire
Contos Fantásticos 1 exemplaire

Oeuvres associées

Orlando (1928) — Postface, quelques éditions10,577 exemplaires
Oncle Silas (L') (1864) — Introduction, quelques éditions1,401 exemplaires
Les saints de glace (1933) — Introduction, quelques éditions923 exemplaires
The Oxford Book of English Ghost Stories (1986) — Contributeur — 543 exemplaires
The Oxford Book of Short Stories (1981) — Contributeur — 511 exemplaires
The Penguin Book of Modern British Short Stories (1989) — Contributeur — 429 exemplaires
Great Irish Tales of Horror: A Treasury of Fear (1995) — Contributeur — 323 exemplaires
A Treasury of Short Stories (1947) — Contributeur — 293 exemplaires
A World of Great Stories (1947) — Contributeur — 261 exemplaires
Christmas Stories (Everyman's Library) (2007) — Contributeur — 253 exemplaires
The Penguin Book of Modern Fantasy by Women (1995) — Contributeur — 166 exemplaires
Stories by Katherine Mansfield (1956) — Directeur de publication; Introduction — 154 exemplaires
Black Water 2: More Tales of the Fantastic (1990) — Contributeur — 152 exemplaires
The Penguin Book of Irish Fiction (1999) — Contributeur — 151 exemplaires
The Virago Book of Ghost Stories (2006) — Contributeur — 139 exemplaires
The Mammoth Book of Modern Ghost Stories (2007) — Contributeur — 134 exemplaires
The Penguin Book of Irish Short Stories (1981) — Contributeur — 131 exemplaires
The Penguin Book of Women's Humour (1996) — Contributeur — 118 exemplaires
Classic Irish Short Stories (1957) 117 exemplaires
The Penguin Book of Modern Women's Short Stories (1990) — Contributeur — 100 exemplaires
Great Irish Detective Stories (1993) — Contributeur — 89 exemplaires
65 Great Spine Chillers (1988) — Contributeur — 80 exemplaires
La chèvre de Monsieur Seguin (1866) — Contributeur — 79 exemplaires
The Virago Book of Ghost Stories: The Twentieth Century, Volume 1 (1987) — Contributeur — 76 exemplaires
The Oxford Book of Twentieth-Century Ghost Stories (1996) — Contributeur — 70 exemplaires
Chill Tidings: Dark Tales of the Christmas Season (2020) — Contributeur — 70 exemplaires
Nightshade: 20th Century Ghost Stories (1999) — Contributeur — 64 exemplaires
Love stories (1983) — Contributeur — 62 exemplaires
The Long Gaze Back: An Anthology of Irish Women Writers (2015) — Contributeur — 57 exemplaires
The Smiles of Rome: A Literary Companion for Readers and Travelers (2005) — Contributeur — 57 exemplaires
The Third Ghost Book (1955) — Contributeur — 56 exemplaires
The Second Fontana Book of Great Ghost Stories (1966) — Contributeur — 55 exemplaires
Into the London Fog: Eerie Tales from the Weird City (2020) — Contributeur — 50 exemplaires
The Norton Book Of Ghost Stories (1994) — Contributeur — 50 exemplaires
Alfred Hitchcock's Fear and Trembling (1948) — Contributeur — 49 exemplaires
Revenge: Short Stories by Women Writers (1986) — Contributeur — 49 exemplaires
The Second Ghost Book (1952) — Introduction; Contributeur — 47 exemplaires
The House of the Nightmare and Other Eerie Tales (1967) — Contributeur; Auteur, quelques éditions47 exemplaires
An Omnibus of 20th Century Ghost Stories (1989) — Contributeur — 45 exemplaires
Realms of Darkness (1985) — Contributeur — 44 exemplaires
Modern Irish Short Stories (1957) — Contributeur — 43 exemplaires
The Haunted Library: Classic Ghost Stories (2016) — Contributeur — 42 exemplaires
The Anchor Book of New Irish Writing (2000) — Contributeur — 39 exemplaires
Great Irish Stories of the Supernatural (1992) — Contributeur — 39 exemplaires
The Fontana Book of Great Horror Stories (1966) — Contributeur — 39 exemplaires
Modern English Short Stories (1939) — Contributeur — 35 exemplaires
The Secret Self: A Century of Short Stories by Women (1995) — Contributeur — 34 exemplaires
Spirits of Christmas (1989) — Contributeur — 31 exemplaires
The Old School: Essays by Divers Hands (1934) — Contributeur — 30 exemplaires
Haunters at the Hearth: Eerie Tales for Christmas Nights (2022) — Contributeur — 30 exemplaires
Night Shadows: Twentieth-Century Stories of the Uncanny (2001) — Contributeur — 29 exemplaires
Stories for the Dead of Night (1957) — Contributeur — 28 exemplaires
The Stories of William Sansom (1963) — Introduction, quelques éditions26 exemplaires
London Tales of Terror (1972) — Contributeur — 26 exemplaires
Tomato Cain and other stories (1949) — Introduction — 18 exemplaires
Family : stories from the interior (1987) — Contributeur — 15 exemplaires
The Black Cap: New Stories of Murder and Mystery (1928) — Contributeur — 11 exemplaires
England forteller : britiske og irske noveller (1970) — Contributeur — 9 exemplaires
A Roman Collection: Stories, Poems, and Other Good Pieces (1980) — Contributeur — 8 exemplaires
Mysterious, Menacing and Macabre (1981) — Contributeur — 8 exemplaires
Shudders (1929) — Contributeur — 7 exemplaires
British and American Essays, 1905-1956 (1959) — Contributeur — 7 exemplaires
Ellery Queen’s Eleven Deadly Sins (1991) — Contributeur — 6 exemplaires
When Churchyards Yawn (1963) — Contributeur — 6 exemplaires
Ghosts in Country Houses (1981) — Contributeur — 5 exemplaires
The Best from Fantasy and Science Fiction: 2nd Series (1983) — Contributeur — 5 exemplaires
Ghosts and Ghastlies (1976) — Contributeur — 5 exemplaires
Twenty-Three Modern Stories (1963) — Contributeur — 4 exemplaires
Horizon 21 (September 1941) — Contributeur — 2 exemplaires
The Best British Short Stories of 1933 — Contributeur, quelques éditions2 exemplaires
Stories of Horror and Suspense: An Anthology (1977) — Contributeur — 2 exemplaires
Stories of the Macabre (1976) — Contributeur — 1 exemplaire
Uncle Silas ... With an introduction by Elizabeth Bowen — Introduction, quelques éditions1 exemplaire
Gespenster — Contributeur — 1 exemplaire

Étiqueté

Partage des connaissances

Nom canonique
Bowen, Elizabeth
Nom légal
Cameron, Elizabeth Dorothea Cole Bowen
Autres noms
Bowen, Bitha
Date de naissance
1899-06-07
Date de décès
1973-02-22
Lieu de sépulture
St Colman's Church, Farahy, County Cork, Ireland
Sexe
female
Nationalité
Ierland
Lieu de naissance
Dublin, Ierland
Lieu du décès
Londen, Engeland, Groot-Brittannië
Lieux de résidence
Dublin, Ireland
Farahy, Ireland
Hythe, England, UK
Regent's Park, London, England, UK
Headington, Oxford, Oxfordshire, England, UK
Études
Downe House School, Kent, England, UK
Professions
novelist
short story writer
Relations
Ritchie, Charles (lover)
Prix et distinctions
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)
Courte biographie
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.

Membres

Critiques

Reason read: Special event/Reading 1001
Elizabeth Bowen born in Dublin, Ireland is an Anglo/Irish author. This was her fifth novel.
Plot/Setting: the setting is one day in the house in Paris, two children meet. Henrietta who is on her way to meet her grandmother and Leopold who is supposed to meet his birth mother for the first time.
Structure: the book is divided in to three; first and third part are titled present. The middle part is the past which explores the background of Leopold's mother through the imaginary (fictitious memory) or Leopold. In the middle section we visit London and Naomi and Karen and Max. A triangle. Max and Karen scene in the back garden, Naomi serving tea. The blades of grass standing back up. The sunlight through the tree. A lot of interesting stuff in this middle section.
The third section opens back with "Your mother is not coming". Ms Fisher tells Leopold the truth. Leopold meets Ray.
This is a five star book, highly recommended and deserving to be owned and annotated.
… (plus d'informations)
½
 
Signalé
Kristelh | 18 autres critiques | Jan 29, 2024 |
How sharply and poignantly the writing cuts. This book is a gorgeous vessel full of poison and (mostly) despicable people. There is a keen reading pleasure to be had, though, despite the cruelty.

Oh, those polite conversations over tea – fine china, scones, crumpets, it’s all there. There are gaping maws underneath all that polish, and they will swallow you whole if you are not careful.

“One thing one must learn is, how to confront people that at that particular moment one cannot bear to meet.”

“In that airy vivacious house, all mirrors and polish, there was no place where the shadows lodged, no point where feeling could thicken.”


Even when the object is Eddie (=let me teach you everything you need to know about abusive relationships, and aren’t you a darling to let me, aren’t you sweet…), I do like things Bowen has to say about love. “One solid pleasure of love is to check up together on what has happened.”

As soon as Portia appears on the page for the first time, you know that she will break, that she will dissolve – the question is only of how, not if and when. Bowen has no mercy for anyone. Portia puts sharp knives of her clear-eyed innocence into the empty people around her, and they cannot take it.

It is so right that this novel should end with a door opening.

P.S. I should definitely read more Bowen, being careful not to overdose.
… (plus d'informations)
 
Signalé
Alexandra_book_life | 37 autres critiques | Dec 15, 2023 |
There's a bit in one of Eddie Izzard's comedy shows where she describes a genre of British film that she calls A Room with a View with a Staircase and a Pond films, where all the acting is very good but the dramatic tension consists of people opening doors meaningfully and making mundane statements that are nonetheless supposed to be highly if cryptically fraught.

I thought of that bit more than once while reading this book, where feelings are almost always intimated and suggested and charged and obscured.

Written in the late '30s, The Death of the Heart is about a naive 16-year-old called Portia who, recently orphaned, goes to live in London with her well-off and much older half-brother and his wife. Neither brother nor sister-in-law are happy to have her there. Portia plainly wants to have them like her, but can't understand that she's seen as a bit of an embarrassment and an obstacle in their rather jaded lives—she clearly reminds them that they're unhappy.

Elizabeth Bowen has some beautifully observed character moments throughout the book, some deliciously mean one-liners too, and I could believe in many (though not all) of her characters as real people. Yet where The Death of the Heart didn't work for me—apart from the too-abrupt ending—was in how Bowen had the characters relate to one another. It's not that I don't believe that people can be cynical and petty in how they dealt with one another. There was just something about the register in which Bowen conveyed their interactions, something about the why behind their actions, that struck me as just a bit too... well, A Room With a View with a Staircase and a Pond.
… (plus d'informations)
½
 
Signalé
siriaeve | 37 autres critiques | Dec 4, 2023 |
"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.
… (plus d'informations)
 
Signalé
therebelprince | 18 autres critiques | Oct 24, 2023 |

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Statistiques

Œuvres
73
Aussi par
77
Membres
8,118
Popularité
#2,981
Évaluation
3.8
Critiques
170
ISBN
267
Langues
8
Favoris
16

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