MILLIN, S. G. An Artist in the Family
MILLIN, Sarah Gertrude. An Artist in the Family. London: Constable. 1928. 8vo. First edition. Publisher’s attractive blue patterned cloth lettered in black to spine and upper board, in the dust jacket. A near fine copy, the cloth clean, very mildly bumped, the binding tight and square, the textblock with a couple of light spots, some offsetting to endpapers else clean. The dust jacket priced 7/6 net to the spine, spine darkened slightly with extremities a trifle bumped. A smart example.
A middle novel of seventeen in all by this problematic Lithuanian-born South African writer. The novel, much like most of her novels, describe the difficulties of poor South Africans, in particular women and, on at least one occasion, Jewish women; Millin was proud of her own Jewish heritage and left a substantial archive of work on the history of European Jews which she had intended to convert to book. Though celebrated for several decades of her early career—hailed, in fact, as the leading female voice in South African literature, with UK, US, and Canadians editions of her work, some reprinted—her politics have severely tarnished the legacy she began to carve. Millin supported apartheid politics, subscribing deeply to the notion of biological racism—the first word in this novel is a racial slur—which certainly and sadly degrades much of her other work, many of which novels were best sellers. Nevertheless, her life, surviving an impoverished childhood as a Jewish female, turning down university in pursuit of a literary career, becoming a best-selling author, meeting US Presidents Hoover and Roosevelt, etc. is certainly a remarkable one.
MILLIN, Sarah Gertrude. An Artist in the Family. London: Constable. 1928. 8vo. First edition. Publisher’s attractive blue patterned cloth lettered in black to spine and upper board, in the dust jacket. A near fine copy, the cloth clean, very mildly bumped, the binding tight and square, the textblock with a couple of light spots, some offsetting to endpapers else clean. The dust jacket priced 7/6 net to the spine, spine darkened slightly with extremities a trifle bumped. A smart example.
A middle novel of seventeen in all by this problematic Lithuanian-born South African writer. The novel, much like most of her novels, describe the difficulties of poor South Africans, in particular women and, on at least one occasion, Jewish women; Millin was proud of her own Jewish heritage and left a substantial archive of work on the history of European Jews which she had intended to convert to book. Though celebrated for several decades of her early career—hailed, in fact, as the leading female voice in South African literature, with UK, US, and Canadians editions of her work, some reprinted—her politics have severely tarnished the legacy she began to carve. Millin supported apartheid politics, subscribing deeply to the notion of biological racism—the first word in this novel is a racial slur—which certainly and sadly degrades much of her other work, many of which novels were best sellers. Nevertheless, her life, surviving an impoverished childhood as a Jewish female, turning down university in pursuit of a literary career, becoming a best-selling author, meeting US Presidents Hoover and Roosevelt, etc. is certainly a remarkable one.
MILLIN, Sarah Gertrude. An Artist in the Family. London: Constable. 1928. 8vo. First edition. Publisher’s attractive blue patterned cloth lettered in black to spine and upper board, in the dust jacket. A near fine copy, the cloth clean, very mildly bumped, the binding tight and square, the textblock with a couple of light spots, some offsetting to endpapers else clean. The dust jacket priced 7/6 net to the spine, spine darkened slightly with extremities a trifle bumped. A smart example.
A middle novel of seventeen in all by this problematic Lithuanian-born South African writer. The novel, much like most of her novels, describe the difficulties of poor South Africans, in particular women and, on at least one occasion, Jewish women; Millin was proud of her own Jewish heritage and left a substantial archive of work on the history of European Jews which she had intended to convert to book. Though celebrated for several decades of her early career—hailed, in fact, as the leading female voice in South African literature, with UK, US, and Canadians editions of her work, some reprinted—her politics have severely tarnished the legacy she began to carve. Millin supported apartheid politics, subscribing deeply to the notion of biological racism—the first word in this novel is a racial slur—which certainly and sadly degrades much of her other work, many of which novels were best sellers. Nevertheless, her life, surviving an impoverished childhood as a Jewish female, turning down university in pursuit of a literary career, becoming a best-selling author, meeting US Presidents Hoover and Roosevelt, etc. is certainly a remarkable one.