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“... Murry, found that they had entered on holy ground. Katherine had become a myth, Murry having, as Antony Alpers writes, ‘sealed her in porcelain’. Though his idealised picture of her as ‘a princess manifest, a child withouten stain’ created a sentimental cult that swept through France, it shocked many of those who had known her in England: ‘why ...”

“... which her best work was, and whether it was written for money or for perceptive readers,’ as Antony Alpers put it in the biography he wrote in 1980 that would redress the image left by Murry, and give us a more complete picture of a writer driven from the outset by an aesthetic that made her much more than the copy-cat Chekhov or author of ...”