“[S]hining from the Future over Her Earliest Memories”: Light, Memory, and Film in Dorothy Richardson’s Pilgrimage

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Notes

¹ Pilgrimage (1915-1967) consists of 13 volumes with each volume having its independent title. They were published separately and were reissued in four volumes by Virago in London in 1979. The order of the volumes in Pilgrimage and the publication details is as follows: Pointed Roofs, London, Duckworth, 1915; Backwater, London, Duckworth, 1916; Honeycomb, London, Duckworth, 1917; The Tunnel, London, Duckworth, 1919; Interim, London, Duckworth, 1919; Deadlock, London, Duckworth, 1921; Revolving Lights, London, Duckworth, 1923; The Trap, London, Duckworth, 1925; Oberland, London, Duckworth, 1925; Dawn’s Left Hand, London, Duckworth, 1927; Clear Horizon, London, J.M. Dent & Cresset Press, 1935; Dimple Hill, London, J.M. Dent & Cresset Press; New York: Alfred A. Knopf, 1938; March Moonlight, J.M. Dent & Cresset Press; New York: Alfred A. Knopf, 1967. The first three volumes that I refer to in this essay are those published by Virago in London in 1979 and the fourth volume is the one published by Alfred. A. Knopf in the United States in 1967.

² Technically, the term “Continuous Performance” refers to a particular kind of film exhibition and viewing, an ongoing process of projection and spectating, which stands in marked contrast to the “single performance” that is emblematic of the theater. See 1998 151.

³ As indicated by one volume title Revolving Lights (1923).

⁴ These three phrases come separately from the title of the tenth volume Dawn’s Left Hand (1931), the eleventh volume Clear Horizon (1935) and the last volume March Moonlight (1964).