Английская Википедия:Angela Brazil

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Шаблон:Short description Шаблон:EngvarB Шаблон:Use dmy dates Шаблон:Infobox writer Angela Brazil (pronounced "brazzle")Шаблон:Refn (30 November 1868Шаблон:Snd13 March 1947)Шаблон:Refn was one of the first British writers of "modern schoolgirls' stories", written from the characters' point of view and intended primarily as entertainment rather than moral instruction.Шаблон:R In the first half of the 20th century she published nearly 50 books of girls' fiction, the vast majority being boarding school stories. She also published numerous short stories in magazines.

Her books were commercially successful, widely read by pre-adolescent girls, and influenced them. Шаблон:Citation needed Though interest in girls' school stories waned after World War II, her books remained popular until the 1960s. They were seen as disruptive and a negative influence on moral standards by some figures in authority during the height of their popularity, and in some cases were banned, or indeed burned, by headmistresses in British girls' schools.

While her stories have been much imitated in more recent decades, and many of her motifs and plot elements have since become clichés or the subject of parody, they were innovative when they first appeared. Brazil made a major contribution to changing the nature of fiction for girls. She presented a young female point of view which was active, aware of current issues and independent-minded; she recognised adolescence as a time of transition, and accepted girls as having common interests and concerns which could be shared and acted upon.

Biography

Early life

Angela Brazil was born on 30 November 1868, at her home, 1 West Cliff, Preston, Lancashire.Шаблон:RШаблон:RШаблон:Refn She was the youngest child of Clarence Brazil, a mill manager, and Angelica McKinnel, the daughter of the owner of a shipping line in Rio de Janeiro, who had a Spanish mother. Angela was the youngest of four siblings including sister Amy, and two brothers, Clarence and Walter.

Her father Clarence was distant, seldom involved himself in his children's affairs, and saw himself primarily as a provider for the material well-being of the family and responsible for ensuring the children were appropriately schooled in religious tradition.Шаблон:R She was primarily influenced by her mother, Angelica, who had suffered during her Victorian English schooling, and was determined to bring up her children in a liberated, creative and nurturing manner, encouraging them to be interested in literature, music and botany, a departure from the typical distant attitude towards children adopted by parents in the Victorian era. Angela was treated with great affection by her sister Amy from an early age, and Amy effected an immense, perhaps dominating influence on Angela throughout her life.Шаблон:R

The family moved around the mill towns of south-east Lancashire, following her father's work opportunities. They lived in Manchester and Bolton, before settling in Bury.Шаблон:R

Schooling

She commenced her education at age four at Miss Knowle's Select Ladies School in Preston, but lasted only a half-day. Having been brought up to express herself freely, she shocked the younger Miss Knowles by removing the teacher's hair pins while sitting on her knee, an action little in keeping with the strict disciplinarian ethos of the school.Шаблон:R She was enrolled in The Turrets in Wallasey.Шаблон:R

She was briefly at Manchester Secondary School and finally at Ellerslie, a fairly exclusive girls' school in Malvern, where she boarded in her later adolescence.Шаблон:R

Her memories of her own schooldays were her most treasured, and she retained aspects of that period of her life into her adult years:Шаблон:R

To be able to write for young people depends, I consider, largely upon whether you are able to retain your early attitude of mind while acquiring a certain facility with your pen. It is a mistake ever to grow up! I am still an absolute schoolgirl in my sympathies.Шаблон:R

Her post-school education was at Heatherley School of Fine Art in London, where she studied with her sister Amy. It is possible she took a position as a governess, but mostly lived with her family. After her father's death, in 1899, the family moved to the Conwy valley, and she travelled with her mother in Europe.Шаблон:R

Commencing writing

Brazil first starting writing at age 10, producing a magazine with her close childhood friend Leila Langdale, which was modelled on Little Folks, a children's publication of the time she was very fond of. The two girls' 'publication' included riddles, short stories and poems. Both girls wrote serials within their magazine; Brazil's was called Prince Azib. Later in life Brazil published in Little Folks.Шаблон:R

She began writing seriously for children in her 30s. Her first school story was The Fortunes of Philippa, which was based on the experiences of her mother. It was not published until 1906,Шаблон:R and her first published children's novel was A Terrible Tomboy (1904).Шаблон:R

Move to Coventry

She spent most of her time with her mother until her death, and thereafter with her elder sister Amy, and brother Walter. She had only two major friendships outside the family circle, one of which started in her school days and the other in her 30s. Both friends were schoolgirls when the friendships first commenced.Шаблон:R

She moved to 1 The Quadrant, Coventry in 1911, with her brother and they were joined by her sister Amy upon their mother's death in 1915.Шаблон:R Brazil became a well-known figure in the local area.Шаблон:R

She was well known in Coventry high society as a hostess and threw parties for adults, with a greater number of female guests, at which children's food and games were featured. She had no children of her own but also hosted many parties for children.Шаблон:R

She read widely and collected early children's fiction; her collection is now in Coventry library. She took great interest in local history and antiquities, and also involved herself in charity work.Шаблон:R She was an early conservationist, taking an interest in both the preservation of land and monuments, worked for the City of Coventry Cathedral and the Y.W.C.A, and was a founding member of the City Guild.Шаблон:R

She never married.

Her writing

Writing and publication

Файл:A Popular Schoolgirl - book cover - Project Gutenberg eText 18505.jpg

Cover of A Popular Schoolgirl from a 1921 US edition

She was quite late in taking up writing, developing a strong interest in Welsh mythology, and at first wrote a few magazine articles on mythology and nature - due most likely to spending holidays in an ancient cottage called Ffynnon Bedr in Llanbedr y Cennin, North Wales (a plaque at the cottage states she lived there 1902-1927).

Her first publication was a book of four children's plays entitled The Mischievous Brownie. Written in Wales, and published in 1899 by T W. Paterson of Edinburgh, the plays featured fairies, ogres and enchantments. Family and friends encouraged her to write a novel for an adult audience, but she had already set her heart on writing for children. She began work on her first full-length tale for children, The Fortunes of Philippa, in the same year, after her father's death.Шаблон:R

Her first published novel was A Terrible Tomboy (1905), but this was not strictly a school story.Шаблон:R The story was autobiographical, with Brazil represented as the principal character Peggy, and her friend Leila Langdale appearing as Lilian.Шаблон:R It was an early success for Brazil, and did well in the United States, perhaps as a result of the popularity of Tomboy stories, which had grown in popularity in that country since the mid-19th century.Шаблон:R

Her long sequence of school stories did not commence until the publication of her second novel The Fortunes of Philippa (1906). The novel was based on her mother, Angelica Brazil, who had grown up in Rio de Janeiro and attended an English boarding school at the age of 10, finding the English culture, school life and climate confronting.Шаблон:R

The Fortunes of Philippa was an instant success, and Brazil soon received commissions to produce similar work. In total she published 49 novels about life in boarding schools, and approximately 70 short stories, which appeared in magazines. Her average production of these tales was two novels and five short stories each year.Шаблон:R

Her fifth novel, Bosom Friends: A Seaside Story (1910) was published by Nelson's, but subsequent books were all published by Blackie and Sons.Шаблон:R Blackie and Sons sold three million copies of her novels.Шаблон:R Her most popular school story novel, The Nicest Girl in The School (1909) sold 153,000 copies.Шаблон:R By 1920 the school story was the most popular genre for girls.Шаблон:R

Style and themes

Angela Brazil is seen as the first writer of girls' school story fiction who wrote stories from the point of view of the pupils and whose stories were mostly intended to entertain readers, rather than instruct them on moral principles. She intended to write stories that were fun and included characters who were ordinary people. She wrote for girls gaining a greater level of freedom in the early 20th century and intended to capture their point of view.Шаблон:R

Unlike many of her successors, Brazil never wrote a series of books set in a particular school, although there are three pairs of books among her 46 full-length school stories: A Fortunate Term and Monitress Merle; At School with Rachel and St. Catherine's College; and The Little Green School and Jean's Golden Term. Monitress Merle also has a substantial character overlap with The Head Girl at The Gables, and A Fortunate Term has a slight connection with The Girls of St. Cyprian's. Most of her novels present new characters, a new school and a new scenario, although these are frequently formulaic, especially in the books written later in her career.Шаблон:R

Her schools usually have between 20 and 50 pupils and so are able to create a community which is an extended family, but also of sufficient size to function as a kind of micro state, with its own traditions and rules.Шаблон:R The schools tend to be situated in picturesque circumstances, being manors, having moats, being built on clifftops or on moors, and the style of teaching is often progressive, including experiments in self-expression, novel forms of exercise, and different social groups and activities for the girls.Шаблон:R

The narrative focuses on the girls, who tend to be between 14 and 15. Although they are high-spirited and active, they are not eccentric or directly conflicting with social norms, as had been the case with Tomboy fiction. They are adolescents, shown as being in a normal period of transition in their lives, with a restlessness that tends to be expressed by minor adventures such as climbing out of dormitory windows at night, playing pranks on one another and their teachers and searching for spies in their midst. They also typically develop their own behavioural codes, have a slang or secret language, which is exclusive to the school.Шаблон:R

The stories tend to focus on relationships between the pupils, including alliances between pairs and groups of girls, jealousy between them, and the experience of characters who feel excluded from the school community. Events which have become familiar from the girls' school fiction written since Brazil, are common, such as secret night-time meetings, achieving and receiving honours or prizes and events at the end of term such as concerts.Шаблон:R

In addition to her books, she also contributed a large number of school stories to children's annuals and the Girl's Own Paper.

Antecedents and influences

Brazil did not invent the story of boarding school life, although she was a major influence over its transformation. There was already an established tradition of fiction for young women, in which school life was presented as a crucible for their development. The Governess, or The Little Female Academy by Sarah Fielding, published in 1749, is generally seen as the first boarding school story.Шаблон:R Fielding's novel was a moralistic tale with tangents offering instruction on behaviour, and each of the nine girls in the novel relate their story individually. However it did establish aspects of the boarding school story which were repeated in later works. The school is self-contained with little connection to local life, the girls are encouraged to live together with a sense of community and collective responsibility, and one of the characters experiences a sleepless night, a standard motif in subsequent girls' fiction.Шаблон:R

Fielding's approach was imitated and used as a formula by both her contemporaries and other writers into the 19th century. Susan Coolidge in What Katy Did at School (1873) and Frances Hodgson Burnett, with Sara Crewe: or what Happened at Miss Minchin's (1887) (later rewritten as A Little Princess) also used a girls' school setting. A character in Brazil's The Third Class at Miss Kaye's quotes these novels as an example of the sort of rigid Victorian environment she had been expecting to find at boarding school. However, probably the most widely read and influential of Brazil's 19th-century predecessors in girls' fiction, was L. T. Meade. Meade was voted most popular writer in 1898 by the readers of Girls' Realm and used some innovations in her girls' school stories which were later developed by Brazil.Шаблон:R

Literary and social context

Shift towards collective education for girls

In the first decades of the 20th century there was a change in education for middle-class girls. Previously it had been common for girls to be educated by a private tutor, an approach which led to young women growing up with a feeling of isolation from their peers. Brazil's boarding school stories were a prominent expression of this shift, and helped promote a sense of young women being a community with a shared identity as schoolgirls, in which individual girls could share common concerns and issues affecting their lives and act together.Шаблон:R The emerging middle classes also could not afford private tuition for their daughters, and while anxious not to send them to poor schools, took advantage of the growing number of private schools for girls, of which there were at least one in most English cities by 1878.Шаблон:R

Change in general education for girls

Brazil's first schoolgirl tales were also published in an era of increased literacy for girls, encouraged by the education acts passed into law in 1902 and 1907 and thus appeared at a particularly ripe time for publishing success and influence upon readers beyond those able to attend boarding schools. Between 1900 and 1920, the number of girls at grammar schools increased from 20,000 to 185,000. Curriculum for girls' study in general also become more liberal in this period. During the same period boarding schools for girls had gain respectability among middle class parents. These schools included a range of activities besides academic study, including activities such as lacrosse, hockey and fencing. Together with changes in the wider social context, which gave more educational and professional openings for girls, this reflected a more general sense of a world where a wider enjoyment of life and opportunity was much more available for girls than had been the case.Шаблон:R

Changing norms in girls' fiction

Much of the fiction for girls being published at the turn of the century was instructional, and focused on promoting self-sacrifice, moral virtues, dignity and aspiring to a settled position in an ordered society. Brazil's fiction presented energetic characters who openly challenged authority, were cheeky, perpetrated pranks, and lived in a world which celebrated their youth and in which adults and their concerns were sidelined.Шаблон:R

While popular with girls, Brazil's books were not approved of by many adults and even banned by some headmistresses, seeing them as subversive and damaging to young minds.Шаблон:R In 1936 Ethel Strudwick, principal of St Paul's Girls' School in London, reacted to a novella about the school by announcing at morning prayers that she would gather all of Brazil's books and set them alight.Шаблон:R

Brazil's own fiction also changed to reflect developing attitudes and changing social mores and the changing expectations of her readers. Her stories written before 1914, the beginning of the First World War, lean more towards issues of character that were typical in Victorian fiction for girls. Those written after this become more critical of this approach, and the heroines more liberated, in parallel with changing possibilities and attitudes towards girls and their potential to become more active in wider aspects of society.Шаблон:R

Parallel to developments in fiction for boys

Boys' school stories were popular from the 1870s until the 1930s and continued to find an audience into the 1970s. Prominent writers included Talbot Baines Reed, and Charles Hamilton, who wrote under a number of pen names, including Frank Richards, as author of the successful Greyfriars School series. Anthony Buckeridge later wrote the Jennings books. Themes between boys' and girls' school fiction had some commonality, such as sports, honour, and friendship.Шаблон:R

It has been claimed that the appearance of girls' boarding school stories was a response to a parallel development of the equivalent for boys in the same period, and there are certainly elements of boys' stories, such as Tom Brown's Schooldays by Thomas Hughes, and the Greyfriars tales by Frank Richards, appear to have been borrowed by writers of girls' stories, including Brazil. However, this may accord an undue influence to this literature, as there had been a gradual development from the 18th century toward fiction which was more specifically focused on gender,Шаблон:R and many of the tropes in Brazil's books derive from the real-life schools attended by early 20th-century girls.

There were also male readers of Brazil's works, although they tended to consume these books secretly and guiltily. These including a number of prominent figures, who confessed to liking the stories in childhood, later in life. This was also a period in which girls' high schools and boarding schools were developing, drawing on aspects of the longer-established boys' boarding schools, but also developing their own culture which was more focused on encouraging friendship and security: elements which many boys, not attracted to the culture of tough masculinity in boys' schools, could relate to. There may also have been as aspect of voyeuristic attraction in boys reading stories about an environment exclusively focused on girls.Шаблон:R

Influence

Angela Brazil is frequently held to be largely responsible for establishing the girls' school story genre, which exerted a major effect on the reading practices of girls for decades after she began publishing her novels, although this belief has been challenged. Her motifs and ideas have become a common part of popular imagination since publication and inspired many imitators and successors. J.K. Rowling's Harry Potter series draws upon many elements of English public school education fiction that Brazil's work helped to establish.Шаблон:R

Towards the end of the 20th century, girls' school stories had in many respects become seen as a cliché, with standard character types such as the oddball but courageous new girl and the practical but fair headmistress, and recurring scenes such as a midnight feast, pranks, heroic rescues and concert at the end of term. Many parodies of these types of stories have been produced. However, when Brazil first wrote schoolgirl tales she was not simply repeating established norms in fiction for young women, and her approach (together with other girls' writers of this period) was innovative and actually establishing new ideas about girls' lives, which were simplified and turned into stock motifs by later writers.Шаблон:R

Popular writers of girls' school stories who certainly read Angela Brazil's books include Elinor Brent-Dyer with her Chalet School series, and Enid Blyton with her tales about Malory Towers and St Clares. Brent-Dyer, whose first volume in the Chalet School series appeared in 1925, published 57 more books in the series and these books were still selling 150,000 copies a year in the late 1990s. Dorita Fairlie Bruce and Elsie Oxenham should also be mentioned and from the 21st century, Tyne O'Connell. Despite the fact that many of these stories included archaic motifs and representations, they still remain popular.Шаблон:R

Interpretations of lesbian content

It has been suggested that Brazil's tales were intended to be covertly expressive of lesbian themes.Шаблон:R Her stories of friendships between girls do include kissing between pupils and less frequently between pupils and teachers, and also elements of adolescent jealousy, but such actions would likely have been viewed as relatively unremarkable at a time when romantic friendships were common. It is possible that Brazil, writing about her own youthful experiences of schoolgirl life, was completely unaware of these implications, and passionate friendships between adolescent girls are not uncommon. Nevertheless, the tone of the relationships in her stories was highly sentimental and might be interpreted as having erotic implications.Шаблон:R In fact, Brazil seemed particularly attached to the name Lesbia, which was given to several important characters: Lesbia Ferrars in Loyal to the School, for instance, and Lesbia Carrington in For the School Colours. Both of these seem to have been largely self-portraits, suitably idealised.Шаблон:R

Bibliography

This bibliography is based largely around the bibliography given in Sims and Clare,Шаблон:R supplemented with information from the Jisc Library Hub Discover,Шаблон:Refn and other sources as indicated. The column On PG' indicates is the book is available on Project Gutenberg.

Books written by Angela Brazil

No	Title	Published	Year	Illustrator	Pages (from Jisc)	On PG	Notes
1	The Mischievous Brownie	Patterson, Edinburgh	1899		19 p., 8º	Шаблон:No	Шаблон:Refn
2	The Fairy Gifts	Patterson, Edinburgh	1901		24 p., 8º	Шаблон:No	Шаблон:Refn
3	Four Recitations	Patterson, Edinburgh	1903			Шаблон:No	Шаблон:Refn
4	The Enchanted Fiddle	Patterson, Edinburgh	1903		22 p., 8º	Шаблон:No	Шаблон:Refn
5	The Wishing Princess	Patterson, Edinburgh	1904		24 p., 8º	Шаблон:No	Шаблон:Refn
6	A Terrible Tomboy	Gay and Bird, London	1904	Angela Brazil and Amy Brazil	[2], 284 p., col. Ill., 8º	Шаблон:Yes	Шаблон:Refn
7	The Fortunes of Philippa	Blackie, London	1906	Arthur A. Dixon	208 p., 8º	Шаблон:Yes	Шаблон:Refn
8	The Third Class at Miss Kayes	Blackie, London	1909	Arthur A. Dixon	208 p., 8º	Шаблон:Yes
9	The Nicest Girl in the School	Blackie, London	1910	Arthur A. Dixon	256 p., 8º	Шаблон:Yes	Шаблон:Refn
10	Our School Record	Dow & Lester, London	1909			Шаблон:No	Шаблон:Refn
11	Bosom Friends	Nelson, London	1910	Jennie Wylie	253 p., 8º	Шаблон:Yes
12	The Manor House School	Blackie, London	1911	Arthur A. Dixon	256 p., 8º	Шаблон:Yes
13	A Fourth Form Friendship	Blackie, London	1912	Frank E. Wiles	255, [1] p., 5pl., 8º	Шаблон:Yes
14	The New Girl at St Chad's	Blackie, London	1912	John W. Campbell	288 p., 8º	Шаблон:Yes
15	A Pair of Schoolgirls	Blackie, London	1912	John W. Campbell	256 p., pl., ill., 8º	Шаблон:Yes
16	The Leader of the Lower School	Blackie, London	1914	John W. Campbell	256 p., 8º	Шаблон:Yes
17	The Youngest Girl in the Fifth	Blackie, London	1914	Stanley Davis	296 p., 8º	Шаблон:Yes
18	The Girls of St Cyprian's	Blackie, London	1914	Stanley Davis	288 p., 6 pl., 8º	Шаблон:Yes
19	The School by the Sea	Blackie, London	1914	John W. Cambell	256 p., 8º	Шаблон:Yes	Шаблон:Refn
20	For the Sake of the School	Blackie, London	1915	Stanley Davis	264p., 5 pl., ill. (1 col.), 8º	Шаблон:Yes
21	The Jolliest Term on Record	Blackie, London	1915	Balliol Salmon	288 p., 8º	Шаблон:Yes
22	The Luckiest Girl in the School	Blackie, London	1916	Balliol Salmon	296 p., 6 ill., 8º	Шаблон:Yes
23	The Madcap of the School	Blackie, London	1917	Balliol Salmon	288 p., 8º	Шаблон:Yes
24	The Slap-Bang Boys	Nelson, London	1917	George Morrow	32 p., 8º	Шаблон:No	Шаблон:Refn
25	A Patriotic Schoolgirl	Blackie, London	1918	Balliol Salmon	288 p., 6 ill., 8º	Шаблон:Yes
26	For the School Colours	Blackie, London	1918	Balliol Salmon	288 p., 8º	Шаблон:Yes
27	The Language of Flowers	Oxford, Oxford	1919			Шаблон:No	Шаблон:Refn
28	The Treasure of the Woods	Oxford, Oxford	1919			Шаблон:No	Шаблон:Refn
29	A Harum-Scarum Schoolgirl	Blackie, London	1919	John W. Campbell	288 p., 8º	Шаблон:Yes
30	The Head Girl at the Gables	Blackie, London	1919	Balliol Salmon	288 p., 6 ill., 8º	Шаблон:Yes
31	Two Little Scamps and a Puppy	Nelson, London	1919	E Blampied	63 p., 8º	Шаблон:No
32	A Popular Schoolgirl	Blackie, London	1920	Balliol Salmon	288 p., 5 ill., 8º	Шаблон:Yes
33	A Gift from the Sea	Nelson, London	1920	A. E. Jackson	64 p., 8º	Шаблон:No	Шаблон:Refn
34	The Princess of the School	Blackie, London	1920	Frank E. Wiles	288 p., 8º	Шаблон:Yes
35	Loyal to the School	Blackie, London	1921	Treyer Evans	288 p., 8º	Шаблон:Yes
36	A Fortunate Term	Blackie, London	1921	Treyer Evans	288 p., 5 ill., 8º	Шаблон:Yes
37	Monitress Merle	Blackie, London	1922	Treyer Evans	256 p., 6 ill., 8º	Шаблон:Yes
38	The School in the South	Blackie, London	1922	W. Smithson Broadhead	287 p., 8º	Шаблон:Yes	Шаблон:Refn
39	Schoolgirl Kitty	Blackie, London	1923	W. E. Wightman	320 p., 8º	Шаблон:No
40	The Khaki Boys and other stories	Nelson, London	1923			Шаблон:No	Шаблон:Refn
41	Captain Peggie	Blackie, London	1924	W. E. Wightman	319 p., 8º	Шаблон:No
42	My Own Schooldays	Blackie, London	1925	Photograph	[2],[5]-320p., 4 ill., 8º	Шаблон:No
43	Joan's Best Chum	Blackie, London	1926	W. E. Wightman	320 p., 6 ill., 8º	Шаблон:No
44	Queen of the Dormitory etc.	Cassell, London	1926	P. B. Hickling	217 p., 8º	Шаблон:No
45	Ruth of St Ronan's	Blackie, London	1927	Frank Oldham	320 p., 8º	Шаблон:No
46	At School with Rachel	Blackie, London	1928	W. E. Wightman	320 p., 8º	Шаблон:No
47	St. Catherine's College	Blackie, London	1929	Frank E. Wiles	320 p., 4 ill., 8º	Шаблон:No
48	The Little Green School	Blackie, London	1931	Frank E. Wiles	320 p., 8º	Шаблон:No
49	Nesta's New School	Blackie, London	1932	W. Spence	319 p., 8º	Шаблон:No	Шаблон:Refn
50	Jean's Golden Term	Blackie, London	1934	Frank E. Wiles	256 p., 8º	Шаблон:No
51	The School at the Turrets	Blackie, London	1935	Francis E. Hiley	255 p., 8º	Шаблон:No
52	An Exciting Term	Blackie, London	1936	Francis E. Hiley	255 p., 8º	Шаблон:No
53	Jill's Joiliest School	Blackie, London	1937	Francis E. Hiley	272 p., 8º	Шаблон:No
54	The School on the Cliff	Blackie, London	1938	Francis E. Hiley	272 p., 8º	Шаблон:No
55	The School on the Moor	Blackie, London	1939	H. Coller	256 p., 4 ill., 8º	Шаблон:No
56	The New School at Scawdale	Blackie, London	1940	M. Mackinlav	272 p., 4 ill., 8º	Шаблон:No
57	Five Jolly Schoolgirls	Blackie, London	1941	W. Lindsay Cable	252 p., 8º	Шаблон:No
58	The Mystery of the Moated Grange	Blackie, London	1942	W. Lindsay Cable	271 p., 8º	Шаблон:No
59	The Secret of the Border Castle	Blackie, London	1943	Charles Willis	256 p., 4 ill., 8º	Шаблон:No
60	The School in the Forest	Blackie, London	1944	J. Dewar Mills	288 p., 4 ill., 8º	Шаблон:No
61	Three Terms at Uplands	Blackie, London	1945	D. L. Mays	223 p., ill., 8º	Шаблон:No
62	The School on the Loch	Blackie, London	1946	W. Lindsay Cable	240 p., 4 ill. 8º	Шаблон:No

Example of illustration

The following illustrations (a colour frontispiece and four black and white illustrations) were prepared by Arthur A(ugustus) Dixon (8 May 1872 – 30 May 1959)Шаблон:R Шаблон:Refn for Brazil's most popular story The Nicest Girl in the School (1909).

• Guilt

  Guilt

• Isolation

  Isolation

• Appeal

  Appeal

• Suspected

  Suspected

• Cut off by tide

  Cut off by tide

Natural History records

Brazil was interested and knowledgeable about natural history. She was part of a field studies group in Wales with her sister, and also recorded what she saw on walks around Coventry. Over two decades she made detailed notes about plants, birds and animals she had seen as well as some watercolour paintings for her personal records. These are now housed at the Herbert Art Gallery and Museum in Coventry. Some of the watercolours were included in the UnNatural History exhibition as part of Coventry UK City of Culture in 2021.

See also

• The Chalet School series by Elinor Brent-Dyer
• The Melling School series by Margaret Biggs
• The Abbey Series, Abbey Connectors and other series of books about schoolgirls by Elsie J. Oxenham
• School story
• Pony books, often featuring and aimed at teen girls

Sources

• My Own Schooldays. Angela Brazil, 1926.
• The Schoolgirl Ethic: The Life and Work of Angela Brazil. Gillian Freeman, 1976
• You're a Brick, Angela! Mary Cadogan and Patricia Craig, Gollancz, London, 1976.
• Shropshire-cc.gov.uk [1] accessed 10 January 2006 (UTC)
• Collectingbooksandmagazines.com [2] accessed 10 January 2006 (UTC)

External links

• Шаблон:StandardEbooks
• Шаблон:Gutenberg author
• Шаблон:FadedPage
• Шаблон:Internet Archive author
• Шаблон:Librivox author