Read Pilgrimage, Volume 1: Pointed Roofs, Backwater, Honeycomb by Dorothy M. Richardson Online


The thirteen magnificent novels that comprise Pilgrimage are the first expression in English of what it is to be called 'stream of conciousness' technique, predating the work of both Joyce and Woolf, echoing that of Proust with whom Dorothy Richardson stands as one of the great innovatory figures of our time. These four volumes record in detail the life of Miriam HendersonThe thirteen magnificent novels that comprise Pilgrimage are the first expression in English of what it is to be called 'stream of conciousness' technique, predating the work of both Joyce and Woolf, echoing that of Proust with whom Dorothy Richardson stands as one of the great innovatory figures of our time. These four volumes record in detail the life of Miriam Henderson. Through her experience - personal, spiritual, intellectual - Dorothy Richardson explores intensely what it means to be a woman, presenting feminine conciousness with a new voice, a new identity....

Title : Pilgrimage, Volume 1: Pointed Roofs, Backwater, Honeycomb
Author :
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ISBN : 9780860681007
Format Type : Paperback
Number of Pages : 490 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Pilgrimage, Volume 1: Pointed Roofs, Backwater, Honeycomb Reviews

  • Jonathan
    2019-01-27 02:20

    A work of genius from an unjustly buried and shamefully neglected modernist. Fans of Woolf or Proust will love it, and should get hold of a copy as soon as they can. Her writing is unique, and the extraordinary window it provides into the development, the growth, of a young proto-feminist mind is simply unparalleled. The drama and the "plot" here is that of growing slowly older, experiencing the world - whilst there are some "dramatic" events, one should not read this text expecting fireworks (though there are some real fireworks - which Miriam hates because they are too damn noisy) A group collating resources about her and her work, and providing a place for discussion, can be found here: From Honeycomb"She knew at once that she did not want to read the book through; that it was what people called a tragedy, that the author had deliberately made it a tragedy; something black and twisted and painful, painful came to her out of every page; but seriously to read it right through and be excited about the tragic story seemed silly and pitiful. The thought of Mrs. Corrie and Joey doing this annoyed her and impatiently she wanted to tell them that there was nothing in it, nothing in the things the author wanted to make them believe; that was fraud, humbug. .. they missed everything. They could not see through it, they read through to the happy ending or the sad ending and took it all seriously. She struggled in thought to discover why it was she felt that these people did not read books and that she herself did. She felt that she could look at the end, and read here and there a little and know; know something, something they did not know. People thought it was silly, almost wrong to look at the end of a book. But if it spoilt a book, there was something wrong about the book. If it was finished and the interest gone when you know who married who, what was the good of reading at all? It was a sort of trick, a sell. Like a puzzle that was no more fun when you had found it out. There was something more in books than that. . even Rosa Nouchette Carey and Mrs. Hungerford, something that came to you out of the book, any bit of it, a page, even a sentence - and the "stronger" the author was the more came. That was why Ouida put those others in the shade, not, not, not because her books were improper. It was her, herself somehow. Then you read books to find the author! That was it. That was the difference. . that was how one was different from most people.. . Dear Eve; I have just discovered that I don't read books for the story, but as a psychological study of the author. . she must write that to Eve at once; to-morrow. It was rather awful and strange. It meant never being able to agree with people about books, never liking them for the same reasons as other people…But it was true and exciting. It meant…things coming to you out of books, people, not the people in the books, but knowing, absolutely, everything about the author. She clung to the volume in her hand with a sense of wealth. Its very binding, the feeling of it, the sight of the slender serried edges of the closed leaves came to her as having a sacredness. . and the world was full of books. ..It did not matter that people went about talking about nice books, interesting books, sad books, " stories " - they would never be that to her. They were people. More real than actual people. They came nearer. In life everything was so scrappy and mixed up. In a book the author was there in every word.Why did this strange book come so near, nearer than any others, so that you felt the writing, felt the sentences as if you were writing them yourself? He was a sad pained man, all wrong; bothered and tragic about things, believing in sad black horror. Then why did he come so near? Perhaps because life was sad. Perhaps life was really sad. No; it was somehow the writing, the clearness. That was the thing. He himself must be all right, if he was so clear. Then it was dangerous, dangerous to people like Mrs. Corrie and Joey who would attend only to what he said, and not to him…sadness or gladness, saying things were sad or glad did not matter; there was something behind all the time, something inside people. That was why it was impossible to pretend to sympathise with people. You don't have to sympathise with authors; you just get at them, neither happy nor sad; like talking, more than talking. Then that was why the people who wrote moral stories were so awful. They were standing behind the pages preaching at you with smarmy voices…Bunyan?...No…He preached to himself too…crying out his sins…He did not get between you and himself and point at a moral. An author must show himself. Anyhow, he can't help showing himself. A moral writer only sees the mote in his brother's eye. And you see him seeing it. "

  • Sarah
    2019-02-14 00:57

    I can't believe I deserted this the first time I attempted it.I can't believe it sat on my shelf for so long when it has everything I love: reverie, poignant simplicity, rustling leaves and hearthside warmth. This is a book like moonlight.From now on, I only want to read books just like this one. *nods*I did have some trouble with all the untranslated French and German. But, again, that's really more a criticism of me...

  • Ronald Morton
    2019-01-20 00:21

    (I had taken some notes while reading this first volume, and layered in some retroactive thoughts while reading the second. I had planned on reading and reviewing all volumes together, but 2000 pages is a lot, especially when I was out of town bar hopping a lot. I'll need to come back to the series later. I doubt I'll re-read this first volume though, so I'm going to post what I've got here, even though it's incomplete) Miriam left the gaslit hall and went slowly upstairs. The March twilight lay upon the landings, but the staircase wasalmost dark. The top landing was quite dark and silent. There was no one about. It would be quiet in her room. She could sit by the fire and be quiet and think things over until Eve and Harriett came back with the parcels. She would have time to think about the journey and decide what she was going to say to the Fräulein. That's the paragraph that opens the entire Pilgrimage cycle. I point it out up front, as it - possibly unintentionally (it's difficult to ascribe intent to a series of books that would span decades) - hits some major themes of the novel (Richardson considered Pilgrimage to be one novel, and the thirteen books which compose it to be merely chapters). There are three points of repetition in this opening paragraph: darkness, silence/quiet; and internal thought. For a novel cycle that would focus so heavily on the internal monologue, on the singular focus of only one psyche, these opening repetitions would frame the focus of the following novel. Again, this could be intentional, or it could just be a byproduct of the internality of the single point of view as presented throughout the novels.These opening three books serve as a sort of prologue for Pilgrimage - they are more simplistic and orderly than the books about her move to London. This is not to take away from the novels here - they are all excellent in their own right, but these first three novels, with their focuses on the three governess jobs with which Miriam was employed all serve as lead up to her move to London (in book 4) and the independence that it offered. Much as her opportunities and horizons opened with that move, the narration and open streams of thought expand greatly after these books.Even that said, Miriam is a singular character, with a district, focused, point of view; from the first novel she brings a distinctly feminist viewpoint to the education of young women - especially when education is primarily focused less on the acquisition of knowledge and more on the making of a wife - as well as an atheistic viewpoint of religious practices in late 19th century Germany and England.An exceptional beginning to a (so far) rewarding "novel". Miriam seemed to gaze long at a pallid, rounded man with smiling eyes. She saw a garden and fields, a firelit interior, a little woman smiling and busy and agreeable moving quickly about .... and Pastor Lahmann--presiding. It filled her with fury to be regarded as one of a world of little tame things to be summoned by little man to be well-willed wives. She must make him see that she did not even recognize such a thing as ‘ a well-willed wife.’

  • Edward Butler
    2019-02-18 06:53

    Giving all these books five stars is a bit of an eccentricity, perhaps; few if any would regard all of them as being anything remotely like perfectly realized. The author herself probably would have conceded that the first novel has executed its intention more successfully than any of its successors. But Richardson is unfairly neglected, and reading her was one of the most enjoyable literary experiences I have had, so for that I am giving them all fives.

  • Deanne
    2019-02-12 01:13

    Finished Pointed Roofs, which details Miriam's time in a german school. The attitude of the staff and the various groups of students is interesting, though at times things seemed to be hinted at, ie Mademoiselle and the letters.Backwater, Miriam now teaches in a school in London, but you get the idea that she sees herself as above the other teachers and pupils socially. Part of her dreads returning there, the other part looks forward to seeing the girls and teachers. Honeycomb, moves on Miriam's life to a new situation as a governess, though her position within the house seems to hint that she's caught between the upstairs and downstairs. Miriam also keeps the reader informed as to her family position and the effect this has on her.

  • John Freeman
    2019-01-24 06:59

    Pointed Roofs is the first entry of Richardson's multi-volume work, Pilgrimage, and the only one available for download to my Kindle. Called, "...a prime example of modernism at its finest and most maddening," Painted Roofs reminds me of that Seinfeld episode where NBC offers Jerry a show and the idea that George comes up with is a show about "nothing." That's what Painted Roofs is about--nothing.What we get is a peek into the consciousness of Miriam Henderson, her thoughts and musings.Richardson is thought of as being the originator of the "stream of consciousness" technique in fiction writing. Painted Roofs is also groundbreaking in that the mind of a young, working class governess could be the subject of a novel.I had a hard time with this book, keeping track of all the other girls, following Miriam's thoughts. But I kept plugging along because this book is supposed to have launched the modernist movement.

  • Steven Felicelli
    2019-01-31 08:06

    among the many lost women in literary history I've been discovering lately - I do not count D.R.this book is tedious, time-wasting junk (to/for me)

  • Geraldine
    2019-01-20 06:00

    I liked this but it had a very experimental feel to it. Usually classified as a "stream-of-consciousness" novel, although some of it based on the author's own experiences. The characterisation was patchy but I think the main problem was the protagonist's extreme youth, therefore in terms of what was going on in her mind there was very little to draw upon (18 years or thereabouts of living happily at home). But it is interesting.

  • Gary Lee
    2019-02-13 03:09

    Giving this one a shot -- though, taking it a bit slower than some of the other multi-novel, multi-volume works.Book 1: 'Pointed Roofs'3/5A nice start to the series. A few rough patches here and there -- even though the novel is important for being the first "stream-of-consciousness" work in English, I thought the more straight-forward parts worked much better -- but overall, it was an engaging read.~~~~~~~~~~~~~

  • Judy
    2019-02-19 06:22

    I loved the first section of this stream-of-consciousness novel, where the heroine is in Germany, but then started to get bored in the later sections where she is back in England and found it hard to follow. Although I can see that Dorothy Richardson is a great writer and I loved many passages, I found myself wanting more of a story.

  • Cynthia
    2019-02-13 08:23

    The first of Richardson's novels in the extensive Pilgrimage sequence. The first book whose style was termed "stream-of-consciousness" I found this an awful slog. The sense of interior life is there, but it doesn't read as a compelling life. I might continue with Backwater, volume 2 to give Richardson a fair chance....

  • Jenny
    2019-02-11 06:59

    I wanted to really like this book, but I just couldn't. It is very interesting and I thought about continuing to read more of the volumes in Painted Roofs since one of the local libraries has them on the shelf, but I think I would rather reread Virginia Woolf or D. H. Lawrence.

  • Jane
    2019-01-28 02:03

    There are brilliant moments, but Richardson's fanaticism about always pulling Miriam back from any strong emotion or thought, in short (perhaps) Miriam's character, make it a lot less interesting and engaging than it seems like it should be. Also, very little happens.

  • Corey
    2019-02-14 02:04

    I read Dawn's Left Hand, not the entire series. I had NO idea what was going on at all, but some of the sentences were very beautiful. I could also see some other interesting aspects of this text, but there was just no grounding of any sort.

  • Miranda
    2019-02-12 06:07

    She smokes, she reads Ouida novels, she's single, she earns her own living--she's the New Woman! Richardson is the forgotten woman writer who wrote the stream-of-consciousness novel about the proto-feminist protagonist before Woolf.