Kathleen Mansfield Murry (14 October 1888 – 9 January 1923) was a prominent modernist writer of short fiction who was born and brought up in colonial New Zealand and wrote under the pen name of Katherine Mansfield, which is in itself a short form of her real name as she was born Katherine Mansfield Beauchamp. Mansfield left for Great Britain in 1908 where she encountered Modernist writers such as D.H. Lawrence and Virginia Woolf with whom she became close friends. Her stories often focus on moments of disruption and frequently open rather abruptly. Among her most well known stories are "The Garden Party," "The Daughters of the Late Colonel," and "The Fly." During the First World War Mansfield contracted tuberculosis which rendered any return or visit to New Zealand impossible and led to her death at the age of 34. Mansfield was born Kathleen Mansfield Beauchamp, in 1888 into a socially prominent family in Wellington, New Zealand. The daughter of a banker and born to a middle-class colonial family, she was also a first cousin of author Countess Elizabeth von Arnim. Mansfield had two older sisters and a younger brother, born in 1894.[1] Her father, Harold Beauchamp, went on to become the chairman of the Bank of New Zealand and was also knighted.[2] The Mansfield family moved to Karori in 1893, where Mansfield would spend the happiest years of her childhood; she later used her memories of this time as an inspiration for the Prelude story.[2] Her first published stories appeared in the High School Reporter and the Wellington Girls' High School magazine (the family returned to Wellington proper in 1898),[2] in 1898 and 1899.[3] She became enamoured with a cellist, Arnold Trowell (Mansfield herself was an accomplished cellist, having received lessons from Trowell's father),[2] in 1902, although the feelings were largely unreciprocated.[4] Mansfield wrote, in her journals, of feeling alienated to some extent in New Zealand, and, in general terms, of how she became disillusioned due to the repression of the Māori people—who were often portrayed in a sympathetic or positive light in her later stories, such as How Pearl Button Was Kidnapped.[1] She moved to London in 1903, where she attended Queen's College, along with her two sisters. Mansfield recommenced playing the cello, an occupation that she believed, during her time at Queen's, she would take up professionally,[4] but she also began contributing to the school newspaper, with such a dedication to it that she eventually became editor during this period.[1][3] She was particularly interested in the works of the French Symbolists and Oscar Wilde,[1] and she was appreciated amongst peers for her vivacious and charismatic approach to life and work.[3] She met fellow writer Ida Baker (also known as Lesley Moore),[1] a South African, at the college, and the pair became lifelong friends.[2] Mansfield did not become involved in much political activity when she lived in London; for example, she did not actively support the suffragette movement in the UK (women in New Zealand had gained the right to vote in 1893).[1] Mansfield first began journeying into continental Europe from 1903–1906, mainly to Belgium and Germany. After finishing her schooling in England, Mansfield returned to her New Zealand home in 1906, only then beginning to write short stories. She had several works published in the Native Companion (Australia), which was her first paid writing work, and by this time she had her mind set on becoming a professional writer.[3] It was also the first occasion on which she used the pseudonym 'K. Mansfield'.[4] She rapidly wearied of the provincial New Zealand lifestyle, and of her family, during this time, and two years later headed again for London.[1] Her father sent her an annual subsidy of £100 for the rest of her life.[2] In later years, she would express both admiration and disdain for New Zealand in her journals, and she was never able to visit there again, partly due to her tuberculosis.[1] Mansfield had two lesbian relationships during this period, notable for their pre-eminence in her journal entries. Mansfield biographer Angela Smith has said that this is evidence of her "transgressive impetus", although Mansfield continued to have male lovers, and attempted to repress her feelings at certain times.[1] Her first relationship was with Maata Mahupuku, a young Māori woman whom Mansfield had first met in Wellington, and then again in London. In June 1907 she wrote: "I want Maata—I want her as I have had her—terribly. This is unclean I know but true." The second relationship, with Edith Kathleen Bendall, took place from 1906 to 1908, and Mansfield also professed her adoration for her in her journals.[5] Back in London in 1908, Mansfield quickly fell into the bohemian way of life lived by many artists and writers of that era (although she only published one story and one poem during her first 15 months there).[3] Mansfield sought out the Trowell family for companionship, and whilst Arnold was involved with another woman, Mansfield embarked on a passionate affair with his brother, Garnet.[4] By early 1909, she had become impregnated with his child, though Trowell's parents disapproved of the relationship, and the two broke up. She hastily entered into a marriage, with a singing teacher 11 years her elder,[6] George Bowden, on March 2, but left him the same evening, having failed to consummate the marriage.[4] After a brief reunion with Garnet, Mansfield's mother, Annie Beauchamp, arrived in 1909. She blamed the breakdown of the marriage on a lesbian relationship between Mansfield and Ida Baker, and she quickly had her daughter despatched to a spa town, Bad Wörishofen, in Bavaria, Germany. Mansfield had miscarried the child after attempting to lift a suitcase on top of a cupboard, although it is not known whether her mother knew of this miscarriage when she left shortly after arriving in Germany (Mansfield was subsequently cut out of her mother's will).[4] Mansfield's time in Bavaria was to have a significant effect on her literary outlook. She was introduced to the works of Anton Chekhov, a writer who proved to have greater influence upon her writing in the short-term than Wilde, on whom she had been fixated during her earlier years. She returned to London in January 1910, and had over a dozen works published in A.R. Orage's The New Age, a socialist magazine and highly-regarded intellectual publication. She became a friend and lover of Beatrice Hastings, who herself lived with Orage.[7] Her experiences of Germany formed the foundation of her first published collection, In a German Pension,[4] in 1911, a work that was lauded by a number of critics (and enjoyed for its unfavourable portrayal of Germans) but that she later described as "immature".[3] The most successful story from this work was Frau Brechenmacher Attends a Wedding.[4] Although discouraged by the volume's relative lack of success, Mansfield submitted a lightweight story to a new avant-garde magazine called Rhythm. The piece was rejected by the magazine's editor, John Middleton Murry, who requested something darker. Mansfield responded with The Woman at the Store a tale of murder and mental illness.[1] Mansfield was inspired in her writing by Fauvism, a contemporary art movement of the period, as well as Chekhov, although neither literary style would have a profound effect on her writing in the long-term (Fauvist literature has been described as 'savage').[1][4] Mansfield and Murray had begun, in 1911, a relationship that would culminate in their marriage in 1918. They led a troubled life during this time. In October 1912, the publisher of Rhythm, Stephen Swift, absconded to Europe, and left Murry responsible for the debts the magazine had accumulated. Mansfield pledged her father's allowance towards the magazine, but it discontinued, being reorganized as Blue Review in 1913, before folding again after three issues.[4] Mansfield and Murry moved to a village in Buckinghamshire in 1913, in an attempt to alleviate Mansfield of her ill health (she was suffering from, amongst other things, an as yet undiagnosed gonorrhoea). Later that year, they moved to Paris, with the hope that the change of setting would make writing for both of them easier. However, Mansfield only wrote one story during her time there (Something Childish But Very Natural) before Murry was recalled to London to declare bankruptcy.[4] Mansfield also left Murry twice from 1911–13, before returning.[8] Mansfield had an affair in 1914, when she embarked on a brief relationship with French writer Francis Carco; her visiting him, in Paris in February 1915,[4] was retold in one of her short stories, An Indiscreet Journey.[1] Mansfield's life and work were changed forever by the death of her brother, a soldier fighting in World War I, in 1915. She was shocked and traumatized by the experience, so much so that her work began to take refuge in the nostalgic reminiscences of their childhood in New Zealand.[9] In a poem, describing a dream she had shortly after his death, she wrote Despite this turbulence in Mansfield's life, she entered into her most productive period of writing in early 1916, and her relationship with Murry also improved.[1] The couple had befriended D. H. Lawrence and his wife, Frieda von Richthofen, in 1913, and maintained a strong relationship with them up until a falling out in 1916. However, Mansfield began to broaden her literary acquaintances for the remainder of the year, encountering Virginia Woolf, T. S. Eliot, Lytton Strachey, and Bertrand Russell through social gatherings and introductions from others.[1] At the beginning of 1917, Mansfield and Murry separated,[1] although he continued to visit her at her new apartment.[4] Ida Baker, whom Mansfield often called, with mixture of affection and disdain, her "wife", moved in with her shortly afterwards.[6] Mansfield entered into her most prolific period of writing post-1916, which began with several stories, including Mr Reginald Peacock's Day and A Dill Pickle being published in The New Age. Woolf and her husband, Leonard, who had recently set up Hogarth Press, approached her for a story, and Mansfield presented Prelude, a story she had begun writing in 1915 as The Aloe. The story is centred around a family of New Zealanders moving home, with little external plot. Although it failed to reach a wider audience, and was little noticed and criticized upon its release in 1918, it later became one of Mansfield's most celebrated works.[4]