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"Nearly every major figure of his era," writes his biographer Adrian Frazier, "worked with Moore, tangled with Moore, took his impression from, or left it on, George Moore." The Anglo-Irish novelist George Moore (1852-1933) espoused multiple identities. An agent provocateur whether as an art critic, novelist, short fiction writer or memoirist, always probing and provocative, often deliberately controversial, the personality at the core of this book invented himself as he reinvented his contemporary world. Moore's key role-as observer-participant and as satirist-within many literary and aesthetic movements at the end of the Victorian period and into the twentieth century owed considerably to the structures and manners of collaboration that he embraced. This book throws into relief the multiple ways in which Moore's work can serve as a counterbalance to established understandings of late nineteenth and early twentieth-century literary aesthetics both through innovative scholarly readings of Moore's work and through illustrative case studies of Moore's collaborative practice by making available, for the first time, two manuscript plays he co-authored with Pearl Craigie (John Oliver Hobbes) in 1894. It is this collaborative practice in conjunction with his cosmopolitan outlook that turned Moore into a key player in the fin-de-siècle formation of an international aesthetic community.
This book explores the full range of Moore's collaborations and cultural encounters: from 1870s Paris art exhibitions to turn-of-the-century Dublin and London; from gossip to the culture of the barmaid; from the worship of Balzac to the fraught engagement with Yeats; from music to Celtic cultural translation. Moore's reputation as a collaborator with the most significant artistic individuals of his time in Britain, Ireland and France in particular, but also in Europe more widely, provides a rich exposition of modes of exchange and influence in the period, and a unique and distinctive perspective on Moore himself.
List of contents
Contents
Acknowledgments
Contributors
Introduction
Ann Heilmann and Mark Llewellyn
Part One: Influence
Chapter 1: The Fin de Siècle Meets French Realism: Moore, Balzac and the Peculiarity of Writers Adrian Frazier
Chapter 2: "A Visit to an Impressionist Exhibition" in Moore's Confessions of a Young Man Anna Gruetzner Robins
Chapter 3: Reading the Notes, Knowing the Score
Mary S. Pierce
Chapter 4: "Literature at Nurse": George Moore, Ouida and Fin-de-Siècle Literary Censorship
Jane Jordan
Chapter 5: "The sort of girl I'd like to see behind the bar at the King's Head": Barmaids and Censorship in George Moore
Katherine Mullin
Chapter 6: Alice Barton: A Portrait of the Artist as a Young (New) Woman?
Ann Heilmann and María Elena Jaime de Pablos
Chapter 7: "Not fitted for marriage": "Mildred Lawson" and the New Woman
Nathalie Saudo-Welby
Chapter 8: Gossip, Art and the Public Secret: Moore on his Contemporaries
Elizabeth Grubgeld
Chapter 9: Readers, Writers and Friends: George Moore and John Eglinton
Michel Brunet
Chapter 10: Celtic Cousins? George Moore's The Untilled Field and Caradoc Evans's My People Kirsti Bohata
Chapter 11: Moore, Wagnerism, and the Shape of the Later Career
Stoddard Martin
Part Two: Collaboration
Co-authorship, Desire and Conflict: Introduction to the Moore/Craigie Collaboration
Ann Heilmann
The Fool's Hour: A play by John Oliver Hobbes [Pearl Craigie] and George Moore
edited by Ann Heilmann
Journeys End in Lovers Meeting: Manuscript by George Moore
edited and introduced by Mark Llewellyn
About the author
Ann Heilmann is Professor of English literature at Cardiff University.
Mark Llewellyn is Director of Research at the Arts and Humanities Research Council.
