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  1. Lady Cynthia Mary Evelyn Asquith (née Charteris; 27 September 1887 – 31 March 1960) was an English writer and socialite, known for her ghost stories and diaries. She also wrote novels, edited a number of anthologies, wrote for children and covered the British Royal family.

  2. Cynthia Mary Evelyn Charteris, coniugata Asquith ( 27 settembre 1887 – 31 marzo 1960 ), è stata una scrittrice inglese, diarista della prima guerra mondiale, autrice di storie di fantasmi, biografie, antologie e opere narrative per ragazzi . Indice. 1 Biografia. 2 Ascendenza. 3 Note. 4 Collegamenti esterni. Biografia.

  3. 1 nov 2016 · Lady Cynthia Asquith. Photo by ullstein bild via Getty Images. Unless you're a long-standing reader of ghost stories, it's easy to fall victim to various untruths that line readerly expectations ...

  4. Lady Cynthia Asquith (née Cynthia Mary Evelyn Charteris le 27 septembre 1887 à Wiltshire et morte le 31 mars 1960 ), membre de l'aristocratie anglaise, est une écrivaine anglaise, connue pour ses anthologies d' histoires de fantômes, ainsi que pour son journal intime tenu pendant la Première Guerre mondiale et publié à titre posthume ; elle est ...

  5. Lady Cynthia Mary Evelyn Asquith was an English writer, now known for her ghost stories and diaries. She also wrote novels and edited a number of anthologies, as well as writing for children and on the British Royal family.

    • (1,4K)
    • March 31, 1960
    • September 27, 1887
  6. orlando.cambridge.org › people › ba33268a-62e1-4f8b-954d-82cLady Cynthia Asquith | Orlando

    Styled: Lady Cynthia Mary Evelyn Charteris. Married Name: Lady Cynthia Mary Evelyn Asquith. Pseudonym: C. Greene. Pseudonym: A Correspondent. Pseudonym: Leonard Gray. Used Form: Cynthia Asquith. LCA is chiefly remembered as a diarist of the First World War, who gives a unique picture on its impact, both detailed and profound, on the lives of ...

  7. Asquith is of special interest to feminists because her medium of ghostly fiction, a metaphoric extension of woman as ghost in her autobiographical. writing, constitutes as credible and graphic a sign of woman's marginality in. her culture as does Gilbert and Gubar's symbolic madwoman in the attic.