Helen Smith took her BA part-time whilst working in sports administration. She then studied full-time, taking an MA in Studies in Fiction and a PhD at UEA. Her doctoral thesis examined the influence of Edward Garnett, the publisher’s reader, editor and critic on early twentieth century fiction. This focussed on Garnett's relationships with Joseph Conrad, D H Lawrence and Sean O’Faolain. Her research interests are in Life Writing, literary Modernism and late nineteenth century fiction, author/publisher relations and nineteenth and early twentieth century Russian fiction. She is currently writing a biography of Edward Garnett, the proposal for which was the joint winner of the 2006 Biographers’ Club Prize.
Edward Garnett and Norman Douglas,
in Norman Douglas : 7. Symposium 2012.
W. Neugebauer Verlag
ISBN 9783853762745Full Text UEA Repository
Predominance of heavily calcified coccolithophores at low CaCO3 saturation during winter in the Bay of Biscay,
in Proceedings of the National Academy of Sciences of the United States of America (PNAS)
pp. 8845-8849Full Text UEA Repository
Edward Garnett: Interpreting the Russians,
in Translation and Literature
pp. 301-313Full Text UEA Repository
Opposing Orbits: Ford Madox Ford, Edward Garnett and Joseph Conrad,
in Ford Madox Ford's Literary Contacts.
Women’s Voices in Post-Communist Eastern Europe & Bodies and Representations Vols 1 and 2,
University of Bucharest PressUEA Repository
LITE2Z33 - FROM PUSHKIN TO CHEKHOV: NINETEENTH CENTURY RUSSIAN FICTION
This module offers students the opportunity to study some of the great works of nineteenth century Russian fiction by authors such as Gogol, Turgenev, Tolstoy, and Dostoevsky Russian writers were convinced that their country’s literature had been too dependent on European models and they set out consciously to create a distinctly ‘Russian’ tradition. What did this involve and why subsequently were the works of authors like Dostoevsky and Chekhov received so rapturously when they became available in English translations at the beginning of the twentieth century? We will also examine this writing in its social, historical and political context, which raises questions regarding the significance of gender, censorship and empire.
By the end of the course you should be familiar with some of the great works of the leading Russian writers of the nineteenth century and will have gained an awareness of the social, historical and cultural circumstances of their production.
Obviously there are numerous different translations of the works we will be reading. For the most part, I have not specified particular editions; however I would like to use Stanley Mitchell’s translation of Eugene Onegin (Penguin: 2008).
As Anna Karenina and Crime and Punishment are long novels we will be spending two weeks on each of them.
Alexander Pushkin, Eugene Onegin (1833) (in the translation by Stanley Mitchell, Penguin, 2008)
Mikhail Lermontov, A Hero of our Time (1840)
Nikolai Gogol, Dead Souls (1842)
Ivan Turgenev, Fathers and Sons (1862)
Nikolai Leskov – Lady Macbeth of Mtsensk (1865)
Feodor Dostoevsky, Crime and Punishment (1866)
Leo Tolstoy, Anna Karenina (1873-7)
Anton Chekhov, Short Stories (there are numerous collections of Chekhov’s stories available, you will need an edition that includes ‘The Lady with the Dog’, ‘Gooseberries’ The Student, The Bishop, Ward No. 6, About Love, Easter Eve, Gusev
Assessment: CW (Coursework 100%)Number and type of assessed items: Two essays, one essay of 1,500 words (40%) and one essay of 2,000 words (60%).
LITE3X46 – WRITING LIFE: BIOGRAPHY AND CREATIVE NON-FICTION
How do writers attempt to capture ‘life’ in all its various forms? What, if any, are the different requirements in writing the life of a famous (or not so famous) person and that of a city or landscape? What about the ‘life’ of travel or food and how do you approach writing about the natural world? These are just some of the questions that this module sets out to address. We will be reading a wide variety of texts, from the ‘traditional’ biography to some of the more experimental examples of creative non-fiction. From Samuel Johnson to essays in The New Yorker, all human (and non-human) life will be there!
The course will be assessed by one piece of work of c. 5,000 words.
Students may choose between writing their own piece of Biography or Creative Non-Fiction as their final project or submitting a critical essay.
(Please note: this is provisional and subject to change)
Samuel Johnson, The Life of Richard Savage (in Johnson on Savage, ed. Richard Holmes)
Virginia Woolf, Flush
Alexander Masters, Stuart: A Life Backwards
Sebastian Faulks, The Fatal Englishman
Hunter S Thompson, Kingdom of Fear
William Fiennes, The Music Room
Max Sebald, The Rings of Saturn
Neil McCormick, Killing Bono
Kate Summerscale, The Suspicions of Mr Whicher
John Jeremiah Sullivan, PulpheadEdmund de Waal, The Hare with Amber Eyes