Other editions of book The Creators: A Comedy

May Sinclair was the pseudonym of Mary Amelia St. Clair (24 August 1863 – 14 November 1946), a popular British writer who wrote about two dozen novels, short stories and poetry.She was an active suffragist, and member of the Woman Writers' Suffrage League. May Sinclair was also a significant critic in the area of modernist poetry and prose, and she is attributed with first using the term stream of consciousness in a literary context, when reviewing the first volumes of Dorothy Richardson's novel sequence Pilgrimage (1915–67), in The Egoist, April 1918. The Creators: A Comedy Three times during dinner he had asked himself what, after all, was he there for? And at the end of it, as she rose, her eyes held him for the first time that evening, as if they said that he would see. She had put him as far from her as possible, at the foot of her table between two of the four preposterous celebrities whom she had asked him, George Tanqueray, to meet. Everything, except her eyes, had changed since he had last dined with Jane Holland, in the days when she was, if anything, more obscure than he. It was no longer she who presided at the feast, but her portrait by Gisborne, R.A. He had given most of his attention to the portrait.

Excerpt: ... sure, to know how far the two were going or had gone. Whatever was between them, it was something that Brodrick desired to conceal, to thrust out of her sight, as he had thrust the thing he had held in his hand. Up-stairs overhead, she heard the door of his room opening and shutting. She saw the light from his windows lengthening on the gravel path outside. He was not coming back. She opened the drawer where she divined that it lurked hidden, the thing that was the sign and symbol of their secret. She found lying there, face downwards, a portrait of Jane Holland, a photograph of the painting by Gisborne. She took it in her hand and looked at the queer, half-plain, half-beautiful, wholly fascinating face; and it was as if she looked for the first time on the face of her own passion, dully, stupidly, not knowing it for the thing it was. She had a sudden vision of their passion, Jane's and Brodrick's, as it would be; she saw the transitory, incarnate thing, flushed in the splendour of its moment, triumphant, exultant and alive. She laid the portrait in its drawer again, face downwards, and turned from it. And for a moment she stood there, clutching her breasts with her hands, so that she hurt them, giving pain for intolerable pain. XXXI Now that the thing she was afraid of had become a fact, she told herself that she might have known, that she had known it all the time. As she faced it she realized how terribly afraid she had been. She had had foreknowledge of it from the moment when Jane Holland came first into Brodrick's house. She maintained her policy of silence. It helped her, as if she felt that, by ignoring this thing, by refusing to talk about it, by not admitting that anything so preposterous could be, it did somehow cease to be. She would have been glad if Brodrick's family could have remained unaware of the situation. But Brodrick's family, by the sheer instinct of self-preservation, was awake to everything that concerned it. Every...

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