English poet and novelist, born 1933
Maureen Patricia Duffy
(born 21 October 1933) is an English poet,
playwright
, novelist and non-fiction author. Long an activist covering such issues as gay rights and animal rights, she campaigns especially on behalf of authors. She has received the
Benson Medal
for her lifelong writings.
Early life and education
[
edit
]
Maureen Patricia Duffy was born on 21 October 1933 in
Worthing
,
Sussex
.
[1]
Her family came from
Stratford
,
East London
. Her
Irish
father, an important strand in her identity, left when she was two months old. To add to an already difficult childhood, Maureen's mother died when Maureen was 15. She then moved to Stratford in East London, where she had family living.
[2]
Duffy draws on her tough childhood in
That's How It Was
, her most autobiographical novel. Her working-class roots, experience of "class and cultural division"
[3]
and close relations with her mother are key influences on her work. She developed an early passion for "stories of Ancient Greece and Rome, folk tales of
Ireland
and
Wales
, tales of knightly chivalry and poetry..."
[4]
Her mother, Duffy recalls, "early on instilled in me that the one thing they can't take away from you is education."
[5]
she completed her schooling and supported herself before university by teaching at junior schools. She gained a degree in English at
King's College London
in 1956,
[6]
then taught in
Naples
till 1958 and in secondary schools in the London area till 1961.
[6]
Career
[
edit
]
Duffy's earliest ambition was to be a poet. She won her first such prize at the age of 17 with a poem printed in
Adam
magazine, soon followed by publication in
The Listener
and elsewhere.
[7]
She later edited a poetry magazine called
the sixties
(1960?1961).
While at King's she completed her first full-length play,
Pearson
, and submitted it for a competition judged by
Kenneth Tynan
, drama critic at the
Observer
. This brought an invitation to join the Royal Court Writers Group in 1958, when its members included
Edward Bond
,
Ann Jellicoe
,
John Arden
,
William Gaskill
and
Arnold Wesker
.
[8]
Duffy started writing full-time after being commissioned by
Granada Television
to write a screenplay
Josie
? broadcast on ITV in 1961 as part of the Younger Generation series
[9]
? about a teenage girl, hoping to break out of factory work by pursuing a talent for fashion design. The advance of £450 enabled Duffy to buy a houseboat to live in.
[8]
Pearson
won the Corporation of London Festival Playwright's Prize in 1962 and was performed under the title
The Lay Off
at the Guildhall School of Music and Drama.
[10]
It drew on Duffy's experience of vacation jobs in factories.
Pearson
/
The Lay Off
is a modern reworking of
Piers Plowman
,
[7]
and an early example of Duffy's inclusion of black characters in prominent roles and her opposition to racism. The set for
Room for Us All
recreates a small block of flats, with residents interacting, and the audience looking in as each is lit up.
[11]
Two and Two Makes Five
is about a teacher disillusioned by constraints on school culture deciding to quit the profession.
The play
The Silk Room
, about a male pop group, was produced at the Palace Theatre Watford in 1966.
[12]
An episode of TV drama
Sanctuary
was commissioned by Associated Rediffusion and broadcast on ITV in 1967.
[13]
Becoming a novelist
[
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]
Duffy's first novel,
That's How It Was
(1962) was written at a publisher's suggestion and won great acclaim.
[14]
While many reviewers dwelt on its vivid depiction of a working-class childhood, Duffy also emphasised that her goal was to show the influences that could form a writer and those that could encourage a preference for same-sex love.
[15]
Duffy's first openly gay novel was
The Microcosm
(1966), set in and around the famous lesbian
Gateways Club
in London (renamed the House of Shades). It was the first to depict a wide range of contrasting gay women of different ages, classes and ethnicities ? and historical periods ? to make a point that "there are dozens of ways of being queer."
[16]
Widely reviewed, it sold well and inspired lesbian readers, including
U. A. Fanthorpe
and Mary McIntosh.
[17]
Duffy's other early novels deal with the life of creative artists.
The Single Eye
(1964) has a talented photographer gradually finding that his wife has become his rival, a restriction that holds back his life and his art, so that for the sake of his creativity and identity he must leave her.
The Paradox Players
(1967),
[18]
about a writer, draws on Duffy's experience of living on a houseboat. It shows the attractions of the freer life in an alternative community, together with its shortcomings (including rats in the food cupboard). The paradox lies in the difficulty of sustaining this as a permanent lifestyle, as the pressures of the outside world break through.
Plays
[
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]
In 1968, Duffy was one of five women novelists commissioned by
Joan Plowright
to write a play for the National Theatre with an all-female cast. Duffy's
Rites
was selected for a second run at the
Old Vic
, then the home of the National Theatre,
[19]
and has often been performed since. Set in ladies' public toilets, it climaxes with an attack by a group of women on a "male", discovered too late to be a woman in a suit. It is described by Duffy as "black farce... pitched between fantasy and naturalism".
[20]
Rites
was shown with
Old Tyme
and
Solo
at the ADC Theatre in
Cambridge
in 1970. A sequel,
Washouse
, was set in a launderette run by a trans woman. All these plays had contemporary settings, but drew thematically on Greek or Roman myths (the Bacchae, children of Uranus, Narcissus, Venus and Diana).
[19]
In 1971, Duffy was commissioned to write the second episode of the ITV series
Upstairs Downstairs
.
[21]
Her play about the last hour of
Virginia Woolf
's life,
A Nightingale in Bloomsbury Square
, was performed in 1973 at the Hampstead Theatre Club, and also featured
Vita Sackville-West
and
Freud
as imagined by Virginia.
Duffy's BBC radio plays include
The Passionate Shepherdess
on
Aphra Behn
(1977) and
Only Goodnight
(1981) on
Edith Somerville
and Violet Martin (
Martin Ross
).
Family Trees
(1984) deals with family history research.
Afterword
, a witty two-hander about a writer under pressure from a benefits officer (a response to
Vaclav Havel
's play
Conversation
) was performed by Manchester University Drama Society in 1983.
Megrim
, set in a mythical matriarchy in the Welsh mountains, was performed at King Alfred's School of Speech and Drama, Winchester, in 1984.
[22]
The Masque of
Henry Purcell
was staged at
Southwark Playhouse
in London in 1995,
[23]
while
Sappho
Singing
was performed there in 2010
[24]
and in Brighton in 2011.
Rites
and
A Nightingale in Bloomsbury Square
have been published. Typescripts of other plays are accessible in King's College London [KCL] Archive. A survey and analysis of Duffy's drama is available in Lucy Kay, (2005).
[22]
Duffy's play
Hilda and Virginia
was shown at the
Jermyn Street Theatre
on 27 February ? 3 March 2018.
[25]
The twinned monologues performed by Sarah Crowden focused on the last evening of Virginia Woolf's life and several episodes in the life of Abbess
Hilda of Whitby
as recorded by
Bede
, where Hilda tells of the poet
Caedmon
and the shift in the church from Irish to Roman Catholicism.
[26]
Poetry
[
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]
Duffy's first of nine poetry volumes appeared in 1968. They included
Environmental Studies
(2013), which was long-listed for the Green Carnation Prize, and most recently
Pictures from an Exhibition
(2016). Her
Collected Poems, 1949?84
appeared in 1985.
Her poetry ranges widely, in form from villanelle to free verse, and in content from erotic and lyrical love poetry to a humanist mass; family memories to political comment. Her work often references earlier poets from a contemporary angle, as in "Piers Plowless".
[27]
Alison Hennegan
credits Duffy with "the first modern lesbian love poems, unabashed and unapologetic. These showed what was possible."
[28]
Their major concern is "sympathy for the human (or animal) condition, devoid of sentimentality or condescension".
[29]
Fiction
[
edit
]
Wounds
(1969) creates a mosaic of London life by interweaving the voices of a range of characters, including a black mother, a local politician and a gay theatre director, whose lives contrast with the uplifting experience of two passionate lovers, whose encounters recur through the book.
Love Child
(1971) has a narrator whose gender is unstated, Kit, a child whose jealousy of its mother's relationship with her lover Ajax (also of unknown gender) has tragic consequences ? an
Oedipal
theme. Kit has also been identified with Cupid and the mother with Venus.
Duffy's trilogy about London continues with
Capital
(1975). The lives of a professor, Emery, and a self-educated, homeless eccentric Meepers, twine around "Queen's" (a fictionalised version of King's College), interspersed with narratives of Londoners of various periods, including 14th-century prostitutes and Stone Age hunters. Many critics saw this as her most impressive novel to date.
[30]
Lorna Sage
noted her writing "becoming altogether more carnivalesque ? more deadpan and more comic."
[31]
The third of the trilogy,
Londoners: an Elegy
(1983), brings dry humour to the challenges of the contemporary writing world, through a narrator of unspecified gender writing on
Francois Villon
.
Londoners
is also inspired by
Dante's Inferno
and draws parallels with Villon's medieval Paris; it is also notable for depicting gay pubs and characters.
Change
(1987), set in World War II, includes a group of apes as one set of narrative voices in a mosaic of stories of a wide range of ordinary people. Many of Duffy's later novels use contrasting and complementary narratives of past and present, a technique she first applied in
The Microcosm
.
Restitution
(1998) (long-listed for the
Booker Prize
), eventually brings past and present together, as a young London woman gradually finds her identity unexpectedly altered by events in
Nazi Germany
half a century before.
Some of Duffy's novels deploy the storytelling techniques of thrillers, including
I want to go to Moscow
(1973),
Housespy
(1978),
Occam's Razor
(1991),
Alchemy
(2004),
The Orpheus Trail
(2009) and
In Times Like These
(2013). Political passion often animates her work.
The Microcosm
makes the case for acceptance of lesbians;
Gor Saga
challenges assumptions about the gulf between humans and other species;
In Times Like These
warns of dangers in possible Scottish independence and in withdrawal of England and Wales from the European Union.
Scarborough Fear
(written under a pseudonym in 1982) is a horror story with a modern setting and Gothic elements, engaging its young narrator in a psychological battle for survival.
Non-fiction
[
edit
]
Duffy's
literary biography
of
Aphra Behn
(1977) led to rediscovery of the 17th-century playwright, the first woman to earn a living by writing, and established fresh facts about her life. Duffy has also edited Behn's plays and her novel
Love Letters Between a Nobleman and His Sister
, and written introductions to other works of hers.
Duffy's other non-fiction includes
The Erotic World of Faery
(1972), a Freudian study of eroticism in
faery
fantasy literature;
Inherit the Earth
, (1979) a social history of her family and their roots in Thaxstead, Essex; a biography of the composer
Henry Purcell
(1995); and a historical survey of how myths of English identity came to develop:
England: The Making of the Myth
(2001).
Writing style
[
edit
]
Duffy's work is often framed by
Freudian
ideas and
Greek mythology
.
[32]
Her writing is distinctive for using contrasting voices or streams of consciousness, often including the perspectives of outsiders. Her novels have been linked to a European literary tradition of exploring reality through the use of language and questioning, rather than traditional linear narrative.
[33]
[34]
James Joyce
in particular and Modernism in general are influences, as is
Joyce Cary
.
[7]
"Duffy has inspired many other writers and proved that the English novel need not be realistic and domestic, but can be fantastical, experimental and political."
[32]
Her writing in all forms is noted for an "eye for detail and ear for language".
[35]
and "powerful intense imagery".
[33]
Her early plays often depict working-class life with humour and evocative language. She joined the
Royal Court
writers' group at a time when the social realist school of such playwrights as
John Osborne
and
Arnold Wesker
was transforming British drama. Some of her plays have been described as "anarchic... dealing with taboo subjects... 'total theater' reminiscent of the ideas of
Antonin Artaud
and
Jean Genet
, employing
Brechtian
techniques."
[36]
Jean-Paul Sartre
has also had an influence.
Duffy's affinity to London, present and past, and its cosmopolitan inhabitants often features in her writing,
[37]
which celebrates diversity, regardless of class, nationality, ethnicity, gender, sexuality or species. She advocates "an ethic of compassion" towards human and animal rights.
[38]
Activism
[
edit
]
A lifelong socialist, Duffy was involved in early
CND
marches.
[7]
As a humanist she has regularly taken a lead in pressing her beliefs.
Gay rights
[
edit
]
Maureen Duffy was the first gay woman in British public life today to be open about her sexuality.
[5]
She "
came out
publicly in her work in the early 1960s"
[4]
and made public comments before male homosexual acts were decriminalised in 1967.
[39]
In 1977 she published
The Ballad of the Blasphemy Trial
, a broadside against the trial of the
Gay News
newspaper for "blasphemous libel".
[40]
As first chair of the Gay Humanist Group from 1980 (renamed
GALHA
, the Gay and Lesbian Humanist Association, in 1987) she spoke out on many issues such as human rights for those with HIV and AIDs. At the 1988
TUC
conference as President of the
Writers' Guild of Great Britain
, she succeeded with a motion deploring the passing of
Section 28
"as an infringement of the basic right to free speech and expression".
[41]
Duffy has patronized the
British Humanist Association
since GALHA became part of it in 2012.
Duffy is often invited by
LGBT
groups to read her work. In 1991, she appeared in
Saturday Night Out
on BBC 2, saying that progress in gay rights since her earliest TV appearances had been more limited than she had hoped. In 1995 she was placed by
Gay Times
as one of the 200 most influential lesbian and gay people in Britain.
[42]
She was included on the
Independent on Sunday'
Pink List in 2005.
[43]
In 2014, she gained an Icon Award for Outstanding Lifetime Achievement from
Attitude
magazine.
Animal rights
[
edit
]
A
vegetarian
and a campaigner for
animal rights
since 1967, who signed a letter to
The Times
in 1970, along with
Elizabeth Taylor
and others, promising never to wear fur,
[44]
Duffy's thinking appears in her book
Men & Beasts: an Animal Rights Handbook
(1984). Duffy is an anti-vivisectionist.
[45]
Animal rights
become central in two of her novels:
I Want to Go to Moscow
(1973, in the US:
All Heaven in a Rage
) and
Gor Saga
, the 1981 story of Gor, born half-gorilla, half-human, televised in 1988 in a three-part miniseries called
First Born
starring
Charles Dance
. Maureen Duffy became Vice President of
Beauty Without Cruelty
in 1975.
Authors' rights
[
edit
]
Duffy, with author and activist
Brigid Brophy
,
Michael Levey
and two others founded the Writers' Action Group in 1972, which gained over 700 author members. Their campaign for
Public Lending Right
(annual payments to authors based on public-library loans of their books) succeeded legally in 1979 after support for it at the 1978 TUC conference.
[46]
She joined a delegation to meet Prime Minister James Callaghan in 1977.
[47]
She remains an authority on
copyright
,
intellectual property
law and secondary author rights.
[48]
"For almost as long as she has been writing for a living, Maureen Duffy has worked to protect the rights of writers, which have been jeopardised by successive changes in technology and in the book market."
[48]
While continuing to defend Public Lending Right, Duffy has also contributed to a campaign for authors to be paid when their work is photocopied, and helped to found the
Authors' Licensing and Collecting Society
, which she chaired for 15 years and remains as its president. She held senior positions for many years in the Writers Guild of Great Britain, the British Copyright Council, the European Writers' Congress (
European Writers Council
since 2008) and the
Royal Society of Literature
.
[48]
She represents the International Authors Forum at the
World Intellectual Property Organization
(a specialized United Nations agency).
In the media
[
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]
Positions
[
edit
]
- President of Honour of the British Copyright Council
[49]
- President of ALCS
[49]
- Vice President of Royal Society of Literature
[50]
- Fellow of King's College, London
[51]
Awards and honours
[52]
[
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]
Selected works
[
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]
Fiction
[
edit
]
- That's How It Was
(1962)
- The Single Eye
(1964)
- The Microcosm
(1966)
- The Paradox Players
(1967)
- Wounds
(1969)
- Love Child
(1971)
- I Want to Go to Moscow: a Lay
(in the US as
All Heaven in a Rage
, 1973)
- Capital: a Fiction
(1975)
- Housespy
(1978)
- Gor Saga
(1981)
- Scarborough Fear
, as D. M. Cayer (1982)
- Londoners: an Elegy
(1983)
- Change
(1987)
- Illuminations: a Fable
(1991)
- Occam's Razor
(1993)
- Restitution
(1998)
- The Orpheus Trail
(2009)
- Alchemy
(2010)
- In Times Like These: a Fable
(2013)
- Sadie and the Seadogs
, a children’s book, illustrated by Anita Joice (2021)
Non-fiction
[
edit
]
- The Erotic World of Faery
(1972)
- The Passionate Shepherdess: Aphra Behn 1640?87
(1977)
- Inherit the Earth: a Social History
(1980)
- Men and Beasts: an Animal Rights Handbook
(1984)
- A Thousand Capricious Chances: a History of the Methuen List 1889?1989
(1989)
- Henry Purcell 1659?95
(1994)
- England: the Making of the Myth from Stonehenge to Albert Square
(2001)
Poetry
[
edit
]
- Lyrics for the Dog Hour
(1968)
- The Venus Touch
(1971)
- Actaeon
(1973)
- Evesong
(1975)
- Memorials of the Quick and the Dead
(1979)
- Collected Poems 1949?84
(1985)
- Family Values
(2008)
- Environmental Studies
(2013)
- Paper Wings
(2014) ? set to paper by artist Liz Mathews
- Pictures from an Exhibition
(2016)
- Past Present: Piers Plowless and Sir Orfeo
(2017)
- Wanderer
(2020)
Drama
[
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]
Plays
[55]
- Great Charles
(1953)
- Pearson
(1956, performed as
The Lay Off
in 1962)
[56]
- Johnny Why
(1956)
- Room for Us All
(1957)
[57]
- Return of the Hero
(c. 1958)
- Corp and Slogger
(1950s)
- Josie
(1961)
[56]
- Two and Two Makes Five
(c. 1962)
- Treason Never Prospers
(1963)
- Villon
(1963)
- The Burrow
(1964)
- The Silk Room
(1966)
[56]
- Rites
(1968)
[56]
- Solo
(1970)
[56]
- Old Tyme
(1970)
[56]
- Megrim
(1972)
- A Nightingale in Bloomsbury Square
(1973)
[56]
- Washouse
(mid-1970s?)
- The Passionate Shepherdess
(1977)
[56]
- Only Goodnight
(1981)
[56]
- Sarah Loves Caroline
(1982)
- Afterword
(1983)
[56]
- Family Trees
(1984)
- Voices
(1985)
- Unfinished Business
(1986)
- The Masque of Henry Purcell
(1995)
[56]
- Sappho Singing
(2010)
[56]
- What You Will
(2012)
[56]
- "The Choice" (2017)
[56]
Plays published
- "Rites" in
New Short Plays 2
(Methuen, 1969), and published on its own by Hansom Books 1969, and in
Plays by Women
, edited by
Michelene Wandor
(Methuen, 1983)
- "A Nightingale in Bloomsbury Square", in
Factions
, edited by
Giles Gordon
and Alex Hamilton (Michael Joseph. 1974)
- "The Choice" and "A Nightingale in Bloomsbury Square" in
Hilda and Virginia
(Oberon Modern Plays 2018)
Art exhibitions
[
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]
- 1969
Prop Art
(with Brigid Brophy). London.
- 2014
Paper Wings
? a collaboration with Liz Mathews. London
Further reading
[
edit
]
- Dulan Barber (1973), "Maureen Duffy talking to Dulan Barber",
Transatlantic Review
Vol. 45, Spring 1973: 5?16
- Christoph Bode (2001), "Maureen Duffy: the polyphonic novel as a subversion of realism": Beate Neumeier, ed. (2001),
Engendering Realism and Postmodernism: Contemporary Women Writers in Britain
, pp. 87?103
- Lyndie Brimstone, (1990), "'Keepers of history': the novels of Maureen Duffy": Mark Lilly, ed. (1990)
Lesbian and Gay Writing
, pp. 23?46
- Maggie Gee (2014),
"Maureen Duffy's mosaics"
,
Times Literary Supplement
2 January 2014, p. 17
- Lucy Kay (2005), "Maureen Duffy",
Dictionary of Literary Biography
, Vol. 310:
British and Irish Dramatists Since World War II
, 4th Series. Bruccoli Clark Layman. Ed. John Bull, pp. 66?72
- Ruth O'Callaghan (2012),
"Running down to winter: Maureen Duffy interviewed by Ruth O'Callaghan"
,
Artemis
8, pp. 7?8
- Lorna Sage
(1989),
Maureen Duffy
. Booktrust/British Council, 8 pp.
- Christine Sizemore (1989), "The city as archeological dig: Maureen Duffy",
A Female Vision of the City ? London in the Novels of Five British Women
, pp. 188?233
- Gerard Werson (1983), "Maureen Duffy", Jay L. Halio, ed.,
Dictionary of Literary Biography
: Vol. 14:
British Novelists since 1960
, pp. 272?282
- Liz Yorke (1999), "British lesbian poetics: a brief exploration",
Feminist Review
(62), Summer 1999, pp. 78?90
External links
[
edit
]
Return to top of page
References
[
edit
]
- ^
"Maureen Duffy"
.
The British Library
. Retrieved
21 November
2020
.
- ^
"Maureen Duffy"
.
www.kcl.ac.uk
. Retrieved
21 November
2020
.
- ^
Duffy (1983), "Preface" to Virago edition of
That's How It Was
, p. x.
- ^
a
b
Alison Hennegan (1977), "...and out the other side" interview with Maureen Duffy in
Gay News
, No. 128. London. October 1977: 20.
- ^
a
b
Jill Gardiner (2013), "A life of herding words", interview with Maureen Duffy,
Diva
magazine. London, November 2013, p. 27.
- ^
a
b
"Notable alumni - Maureen Duffy - King's Alumni Community"
.
alumni.kcl.ac.uk
. Retrieved
6 December
2019
.
- ^
a
b
c
d
British Library. Maureen Duffy interviewed by Sarah O'Reilly, Authors' Lives, 2007?2009. British Library Sound & Moving Image Catalogue reference C1279/03: Track 6 21.01.08.
- ^
a
b
Duffy (1983), "Preface ", p. v,
That's How It Was
.
- ^
That's How It Was
(1962 ed.)
- ^
The Stage
1 March 1962;
The Stage and Television Today
12 July 1962, p. 13.
- ^
British Library. Maureen Duffy interviewed by Sarah O'Reilly, Authors' Lives, 2007?2009. British Library Sound & Moving Image Catalogue reference C1279/03: Track 21, 15.07.08.
- ^
Times
, 30 September 1966, p. 14.
- ^
IMDB synopsis
. Accessed 13 January 2014.
- ^
Well reviewed in the
Times Literary Supplement
,
Observer
,
Sunday Times
,
Sunday Telegraph
,
Spectator
,
Daily Herald
, etc.
- ^
Maureen Duffy (1983 Virago ed.),
That's How It Was
, Preface, p. vi.
- ^
The Microcosm
(1989 Virago ed.), p. 273.
- ^
Duffy quoted in Jill Gardiner (2003),
From the closet to the screen: women at the Gateways Club 1945?85
, pp. 104?107.
- ^
Duffy, Maureen (1969).
The paradox players
. London: Panther.
ISBN
0-586-02699-1
.
OCLC
877278597
.
- ^
a
b
Duffy (1983), play notes for
Rites
,
Plays by Women
, Vol. 2, p. 26.
- ^
Duffy (1983), play notes for
Rites
in
Plays by Women
, Vol. 2, p. 27.
- ^
"The Mistress and the Maids"
,
Upstairs, Downstairs
, Season One. Accessed 28 October 2013.
- ^
a
b
Lucy Kay (2005), "Maureen Duffy" in
Dictionary of Literary Biography, Volume 310: British and Irish Dramatists since World War II
, 4th Series. Bruccoli Clark Layman, ed. John Bull, pp. 66?72.
- ^
"A star is born at ENO"
.
The Independent
. 8 October 1995.
Archived
from the original on 12 May 2022
. Retrieved
6 December
2019
.
- ^
Environmental Studies- About the author
.
ASIN
1907587284
.
- ^
Marcolina, Cindy.
"Review Hilda and Virginia"
.
Broadway World UK
.
- ^
Williams, Holly.
"Review: Hilda and Virginia at Jermyn Street Theatre"
.
Exeunt Magazine
.
- ^
"Maureen Duffy"
, Poetry. Accessed 14 January 2003.
- ^
Quoted in Workman, Bob (1984), 'Duffy's lore' interview in
She
magazine December 1984, p. 81.
- ^
Memorials of the Quick and the Dead
(1979): inside cover.
- ^
Observer
12 October 1975, p. 31 ? Summary of reviews in
Observer
,
Sunday Times
,
Guardian
,
Financial Times
and
Sunday Telegraph
.
- ^
Lorna Sage (1989),
Maureen Duffy
. Booktrust with British Council.
- ^
a
b
Maggie Gee (2014),
"Maureen Duffy's mosaics"
,
TLS
, 1 January 2014: 17.
- ^
a
b
Christoph Bode (2001), "The Polyphonic novel as a subversion of realism", Beate Neumier, ed. (2001),
Engendering Realism and Post-modernism: Contemporary Women Writers in Britain
, p. 89.
[1]
- ^
Beate Neumier's talk at "In Times Like These ? day of celebration of Maureen Duffy" at King's College, London, 6 December 2013.
- ^
Francis Hope,
The Observer
, 25 November 1962: 29. Similar comments are made, for example, by Jane Miller,
TLS
3 July 1969, p. 720; Werson (1983), 274; Bode (2001), 89; and Maggie Gee,
TLS
1 January 2014, p. 17.
- ^
Lucy Kay (2005), "Maureen Duffy",
Dictionary of Literary Biography
, Vol. 310,
British and Irish Dramatists since World War II
, 4th Series. Bruccoli Clark Layman, ed. John Bull, p. 72.
- ^
Christine Sizemore, (1989), "The city as archeological dig: Maureen Duffy",
A Female Vision of the City ? London in the Novels of Five British Women
, pp. 188?233.
- ^
Sizemore (1989), "The city as archeological dig: Maureen Duffy", in
A Female Vision of the City
: p. 212.
- ^
See the TV programme
Late Night Lineup
? "Man Alive"
, 14 June 1967, BBC Archive website.
- ^
The Freethinker
, August 1977
, accessed 4 October 2013.
- ^
Gay & Lesbian Humanist
Vol. 8, No. 2, Winter 1988/1989, p. 4.
- ^
1995 May
Gay Times
, p. 96.
- ^
Independent on Sunday
, 26 June 2005: 10, 11.
- ^
Times
26 November 1970: 4
- ^
George Stade, Karen Karbiener (2009),
Encyclopedia of British Writers, 1800 to the Present, Volume 2
. Facts on File, p. 148.
ISBN
978-0-8160-7385-6
.
- ^
Bob Workman (1984), "Duffy's lore", interview in
She
magazine December 1984: 81.
- ^
Times
13 May 1977, p. 1.
- ^
a
b
c
d
Marion O'Connor (2013),
Speech at ceremony to award Honorary Doctor of Literature to Maureen Duffy ? July 2013
Archived
2 February 2014 at the
Wayback Machine
. Accessed 10 October 2013.
- ^
a
b
c
Who's Who
, 2013.
- ^
Royal Society of Literature
Archived
26 August 2013 at the
Wayback Machine
- ^
KCL Fellows.
- ^
Who's Who
. 2016.
- ^
"Ms. Maureen Duffy"
. Debretts. Archived from
the original
on 31 July 2012
. Retrieved
10 August
2010
.
- ^
"Honorary Graduates and University Medallists | Graduation | Loughborough University"
.
www.lboro.ac.uk
. Retrieved
15 March
2021
.
- ^
Plays, where possible, dated from scripts in King's College London Archive. Dates checked by Maureen Duffy, 23 January 2014.
- ^
a
b
c
d
e
f
g
h
i
j
k
l
m
n
date of first performance
- ^
next play after
Pearson
(British Library. Maureen Duffy interviewed by Sarah O'Reilly, Authors' Lives, 2007?2009. British Library Sound & Moving Image Catalogue reference C1279/03: Track 21 15.07.08)
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