Works Cited
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- Ahmed, Sara (2010), ‘Happy Objects’, in Melissa Gregg and Gregory J. Seigworth (eds), The Affect Theory Reader, Durham and London: Duke University Press, pp. 29–51.
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- Bowness, Alan (2007–2010), Interviewed by Cathy Courtney for the National Life Stories: Artists’ Lives, oral collection, available at https://www.bl.uk/voices-of-art/articles/duncan-robinson-the-london-art-world-1950–1965 (accessed 19 October 2020).
- Burley, Patrick (2020), ‘Whiteness, Displacement, and the Postimperial Imaginary in Christine Brooke-Rose’s Out’, MFS Modern Fiction Studies 66:2, pp. 371–95.
- Butler, Alice (2013), ‘Ann Quin’s Night-time Ink: A Postscript’, available at http://www.alicebutler.org.uk/wp-content/uploads/2016/03/Butler_AnnQuin_Book.pdf (accessed 19 October 2019).
- Carter RA, John (2020), My interview with him in his London studio, 7 February 2020.
- Clarke, Chris (2015), ‘Tracing the Ethical Dimension of Postwar British Experimental Fiction’, PhD Thesis, University of Southampton.
- Dunn, Nell (1965/2018), Talking to Women, London: Silver Press.
- Fer, Briony (1999), 'Objects Beyond Objecthood', Oxford Art Journal 22:2, pp. 27–36.
- Foster, Hal (2020), Brutal Aesthetics, Princeton, NJ and Oxford: Princeton University Press.
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- Judd, Donald (1975), ‘Specific Objects’, in Donald Judd, Complete Writing 1959–1975, Halifax, Nova Scotia: Press of the Nova Scotia College of Art and Design, pp. 181–9.
- Kaprow, Allan (1958), ‘The legacy of Jackson Pollock’, originally published in Artnews October 1958, republished online 9 February 2018 and available at http://www.artnews.com/2018/02/09/archives-allan-kaprow-legacy-jackson-pollock-1958/ (accessed 19 October 2020).
- Largier, Nikoluas (2013), ‘Figure, Plasticity, Affect’, in Gabriele Brandstetter, Gerko Egert and Sabine Zubarik (eds), Touching and Being Touched: Kinesthesia and Empathy in Dance and Movement, Berlin and Boston: De Gruyter, pp. 23–34.
- McCarthy, Tom (forthcoming, 2022), ‘Rubbed out by Sundown’, introduction to Tre by Ann Quin, translated by Denise Rose Hansen, Copenhagen: Basilisk.
- Ngai, Sianne (2005), Ugly Feelings, Cambridge, MA and London: Harvard University Press.
- Paolozzi, Eduardo (1993–1995), Interviewed by Frank Whitford for the National Life Stories: Artists’ Lives, oral collection, available at https://www.bl.uk/collection-items/eduardo-paolozzi-on-post-war-britain (accessed 19 October 2020).
- Powell, Josh (2020), ‘Ann Quin, Object Relations, and the (in)Attentive Reader’, Textual Practice, published online 24 February 2020. doi:10.1080/0950236X.2020.1729851.
- Quin, Ann (1964), ‘How It Is by Samuel Beckett’, The Aylesbury Review 6:3, pp. 190–2.
- Quin, Ann (1965), Letter to Henry Williamson. Postmarked 27 January 1965. Titled Turret Room and dated 26 January 1965 by Quin, Henry Williamson Papers, EUL MS 43/PERS/1/Q/QUIN, courtesy of Special Collections, University of Exeter.
- Quin, Ann (1966), Letter to Robert Sward dated 21 September, Robert Sward Papers, Olin Library, Washington University, St Louis.
- Quin, Ann (1966), Postcard to Larry Goodell dated 11 November, written on the back of a Solomon R. Guggenheim Museum postcard depicting Vasily Kandinsky’s Sketch for Composition, No. 2, 1909–10, the Duende Archive, Larry Goodell Papers, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
- Quin, Ann (1966), Three, London: Calder and Boyars.
- Quin, Ann (1969), Passages, London: Calder and Boyars.
- Quin, Ann (1966/2018), ‘Leaving School – XI’, in Ann Quin, The Unmapped Country: Stories and Fragments. (First published in The London Magazine 4, July 1966). London and Sheffield: And Other Stories, pp. 15–24.
- Quin, Ann (2018), ‘Nude and Seascape’, in Ann Quin, The Unmapped Country: Stories and Fragments, London and Sheffield: And Other Stories, pp. 25–30.
- Robinson, Duncan (2019), ‘The London Art World 1950–1965’, available at https://www.bl.uk/voices-of-art/articles/duncan-robinson-the-london-art-world-1950-1965 (accessed 19 October 2020).
- Semple, Jr., Robert B. (1976), ‘Tate Gallery Buys Pile of Bricks—Or Is It Art?’ The New York Times, 20 February.
- Snow, C. P. (1965), cited in H. W. Fowler, Modern English Usage, Oxford: Oxford University Press.
- Stevick, Philip (1989), ‘Voices in the Head’, in Miriam Fuchs, Ellen G. Friedman (eds), Breaking the Sequence: Women’s Experimental Fiction, New Jersey: Princeton University Press, pp. 231–9.
- Williams, Nonia (2013), ‘Designing its own Shadow: Reading Ann Quin’, PhD thesis, University of East Anglia.
- Williams, Nonia (2019), ‘Ann Quin: “infuriating” Experiments?’, in Kaye Mitchell and Nonia Williams (eds). British Avant-Garde Fiction of the 1960s, Edinburgh: Edinburgh University Press, pp. 143–59.
- Williams, Nonia (2020), 'About Madness: Ann Quin’s The Unmapped Country', Textual Practice 34:6, pp. 903–20.
- Williamson, Henry (1964), Reference for Ann Quin for the Harkness Fellowships of the Commonwealth Fund – New York. Awards from the United Kingdom 1965, Henry Williamson Papers, EUL MS 43/PERS/1/Q/QUIN, courtesy of Special Collections, University of Exeter.
- Williamson, Henry and Ann Quin (1964), correspondence through the month of May, Henry Williamson Papers, EUL MS 43/PERS/1/Q/QUIN, courtesy of Special Collections, University of Exeter.
- Thompson, David (1964), The New Generation: 1964, London: Whitechapel Art Gallery in association with the Peter Stuyvesant Foundation.