Marie Corelli papers

The Marie Corelli Collection houses the correspondence and other materials of Marie Corelli, a British novelist. The collection, which ranges from 1885-1932, is comprised of Corelli’s correspondence, writings, and personal memorabilia.

The collection is organized into two series: “Series I: Correspondence,” and “Series II: Other Materials.”

Series I is divided into three subseries: “Outgoing Correspondence, “Incoming Correspondence,” and “Third Party Correspondence.” “Outgoing Correspondence” comprises the main bulk of the series and includes letters to friends, editors, and others regarding her writing and social activities. Almost all of the letters, which cover the period from 1886 to 1923, are handwritten and signed by Corelli, although a few were typed by her secretary. “Incoming Correspondence” consists of a letter from W. A. Hobbes arranging an appointment, a letter from the Lyric Theatre about Corelli's The Master Christian, and a number of letters from A. S. Watt that relate to a copyright lawsuit brought by Corelli in 1913 regarding Temporal Power. “Third Party Correspondence” contains a number of letters from Corelli's half-brother, Eric Mackay, to publishers regarding his writings. There are two letters from Field, Roscoe & Co. regarding Corelli's estate and Bertha Vyver's share in it, and there are two letters from Vyver to Mrs. Hobbes regarding a concert in 1903. “Series II: Other Materials,” is organized into “Writings,” and “Other.” “Writings” contains two handwritten passages from Barabbas, a lecture on Byron, a letter to the editor of The Daily Call, and a transcription of Algernon Charles Swinburne's poem, "Tintagel." There is also a proof of a poem by Eric Mackay that has been annotated by Corelli. The second subseries, “Other,” contains balance sheets written after Corelli's death, listing sales and royalties of her books from 1919 to 1927; two copies of contracts relating to the Temporal Power copyright lawsuit; some notes, probably by agents, regarding Corelli's publishing options in 1909; a 1922 inscribed photograph of Corelli; three postcards depicting Corelli circa 1900; and one postcard circa 1990, showing Corelli's house as it looked in the 1940s.

Although nearly entirely forgotten today, Corelli was an popular writer of her day. The correspondence in this collection illuminates the personal life of a woman well-known for her eccentricities. The collection also gives insight into how Corelli wrote and how she engaged with the writings of others. It would be of use to those interested in Marie Corelli or Victorian female writers.