Philip Henry Gosse, Tenby: A Sea-Side Holiday (London, 1856), p. Hill (Berkeley, Los Angeles, London: Univ. Walter Pater, ‘Leonardo da Vinci’, in The Renaissance ed. Juliet Mitchell (Harmondsworth: Penguin, 1986), pp. Melanie Klein, ‘Early Stages of the Oedipus Conflict’ (1928), in The Selected Melanie Klein, ed.

John Mortimer, Clinging to the Wreckage: A Part of Life (London: Weidenfeld and Nicolson, 1982). It is thus a classic case of Bloomian poetic misprision, a combination (if we wish to use the terminology) of tessera and kenosis: Harold Bloom, The Anxiety of Influence (New York: Oxford U.P., 1973), pp. 1) and Brian Finney, The Inner I: British Literary Autobriography of the Twentieth Century (London and Boston: Faber and Faber, 1985), pp. My approach follows leads given, e.g., by Pearlman, art.cit. This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. It appears that Gosse could write his autobiography only after he had performed his filial last rites by presenting to the public an official biography of his father as a formal act of remembrance. 2 In Gosse’s case the result is an autobiographical novel with a psychological subtext the richness and complexity of which emerge with startling clarity if Father and Son is read alongside Gosse’s The Life of Philip Henry Gosse of 1890. 1īut then many theorists of autobiography rightly insist on the genre’s fictional nature as the inevitable product of the creative gaps that proliferate between the original experiences (or reports of them), subsequent revisitings by the memory, and the period of writing.

He also changed things deliberately very often to make a better story. How much more so can this be said with regard to his own biography. Gosse described himself as a ‘tainted source’ when someone was compiling a bibliography of his work.

Father and son gosse