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Dame Rose Macaulay

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Book Excerpt: 
. . .Very well, mother. You're the doctor. I'll do my best not to throw them together when next Hobart comes over. But we must leave the children to settle their affairs for themselves. If he really wants fat little Babs we can't stop him trying for her.'

'Life is difficult,' Lady Pinkerton sighed. 'My poor little Clare is looking like a wilted flower.'

'Poor little girl. M'm yes. Poor little girl. Well, well, we'll see what can be done…. I'll see if I can take Janet home for a bit, perhaps—get her out of the way. She's very useful to me here, though. There are no flies on Jane. She's got the Potter wits all right.'

But Lady Pinkerton loved better Clare, who was like a flower, Clare, whom she had created, Clare, who might have come—if any girl could have come—out of a Leila Yorke novel.

'I shall say a word to Jane,' Lady Pinkerton decided. 'Just to sound her.'

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Community Reviews

There has been something of a revival of interest in Rose Macaulay’s work in recent years. Firstly, the Virago reissues of Crewe Train (1926) and The World My Wilderness (1950) in Feb 2018; then, last summer, the British Library’s publication of Dangerous Ages (1921) a novel focusing on women at var

Sharp in its description of anti-semitism in England after the 1st World War. It reads more like a parody than a novel. Most of the key characters, with the exception of Arthur Gideon and Mr Potter, are thoroughly unpleasant. Reading this book gives some intellectual satisfaction but it is not a nov

Potterism focuses primarily on the years directly after the First World War and the newspaper empire of the Potter family. It highlights a movement entitled by it’s detractors as ‘Potterism’; a view of the world based on suspicion, fear and the creation of fake news. There are, it has to be said com

Gli amori e le sfide personali di due fratelli gemelli, e la loro lunga e appassionata lotta per affermarsi in una società scossa dalla Prima Guerra Mondiale, nella autenticità spregiudicata ma profondamente umana, che li ha resi simbolo rappresentativo della borghesia europea nella prima metà del N