The Transylvania Colony, also referred to as the Transylvania Purchase, was a short-lived, extra-legal colony founded in early 1775 by North Carolina land speculator Richard Henderson, who formed and controlled the Transylvania Company. Henderson and his investors had reached an agreement to purchase a vast tract of Cherokee lands west of the southern and central Appalachian Mountains through the acceptance of the Treaty of Sycamore Shoals with most leading Cherokee chieftains then controlling these lands. In exchange for the land the tribes received goods worth, according to the estimates of some scholars, about 10,000 British pounds ($1.5 million U.S. in 2016). To further complicate matters, this frontier land was also claimed by the Virginia Colony (particularly following Lord Dunmore's War) and a southern portion by Province of North Carolina.

The Transylvania Colony was located in what is now the central and western parts of Kentucky, and a chunk of north central Tennessee. The American pioneer and frontier explorer Daniel Boone was hired by Henderson to establish the Wilderness Road going through the Cumberland Gap and into southeastern Kentucky to facilitate settlement.  A governmental compact was concluded by the settlers in May, 1775. Most settlement was forestalled by the Revolutionary War, except around established towns. Henderson's Transylvania claim in Kentucky was invalidated by the Virginia General Assembly in 1778, and the remaining Tennessee portion was invalidated by North Carolina in 1783.  Henderson was compensated with a land grant along the Ohio River in western Kentucky and the current town of Henderson was founded there.

Background
The Royal Proclamation of 1763 that ended the French and Indian War declared lands west of the Appalachians as "Indian Territory" forbidden to colonial settlement.
Continued provocations by colonial explorers, traders and trappers necessitated some concessions by the Indians to concede lands for settlement in exchange for peace.
In the 1768 Treaty of Fort Stanwix, the Iroquois ceded their claims on lands south of the Ohio River to the British Empire. Although they claimed sovereignty over much of what is now Kentucky, the Iroquois did not actually reside there, as did their nominal vassal, the Shawnee. In addition, the Cherokee to the south and southeast used much of the area as their historical hunting grounds. Neither of these peoples had been consulted regarding the Stanwix treaty, although a series of borders was worked out with the Cherokee at the Treaty of Hard Labour (1768), the Treaty of Lochaber (1770), and once more in 1771 when they agreed to extend the Lochaber cession into present-day northeast Kentucky. The Shawnee, however, had not conducted a boundary agreement with the colonies since 1758 at the Treaty of Easton, giving them a claim to everything west of the Alleghenies. Consequently, they began to attack frontier settlers moving into the region. This led to Lord Dunmore's War, fought in 1774, primarily between the Shawnee and Virginia Colony. The Shawnee lost this brief war and their chief Cornstalk ceded all their claims south of the Ohio River, including Kentucky.

Also, through much of the second half of the 17th century, a state of war had existed between the "northern tribes" (particularly the Iroquois, and the Lenape and Shawnee who were then tributary to them) and the "southern tribes" of the Cherokee and Catawba, the shared hunting grounds of Kentucky remained a contentious neutral zone.

The Transylvania Company

On 27 August 1774, Richard Henderson, a judge from North Carolina, organized a land speculation company with a number of other prominent North Carolinians. Originally called Richard Henderson and Company, the company name was first changed to the Louisa Company, and finally to the Transylvania Company on January 6, 1775. The Transylvania Company investors hoped to establish a British proprietary colony by purchasing the Kentucky lands from the Cherokee who had earlier settled much of the south and southeastern Kentucky areas and still claimed hunting rights in the abandoned Shawnee lands.

Treaty of Sycamore Shoals (a.k.a. Watauga Treaties)

In March 1775, Richard Henderson and Daniel Boone met with more than 1,200 Cherokee at Sycamore Shoals (present day Elizabethton in northeastern Tennessee). Present were Cherokee leaders such as Attakullakulla and Oconostota. With five grant deeds that constituted the Treaty of Sycamore Shoals, Henderson purchased all the land lying between the Cumberland River, the Cumberland Mountains, and the Kentucky River, and situated south of the Ohio River on March 14, 1775. Some adjacent land to the southeast, in Virginia and North Carolina, was also purchased. The land thus delineated, 20 million acres (81,000 km2), encompassed an area half the size of present-day Kentucky.

Henderson and his partners probably believed that a recent British legal opinion, the Pratt–Yorke opinion, had made such purchases legal. In fact, the Transylvania Company's purchase was in violation of both Virginia and North Carolina law, as well as the Royal Proclamation of 1763, which prohibited private purchase of American Indian land and the establishment of any non-Crown sanctioned colony.

The Treaty was disavowed by some of the chiefs. A dissident Cherokee chief, Dragging Canoe, refused to sign, endorse, or obey the Treaty of Sycamore Shoals, declaring that "it is bloody ground, and will be dark and difficult to settle". It would prove to be prophetic, and subsequently Kentucky came to be referred to by the sardonic phrase, dark and bloody ground. Dragging Canoe left the Sycamore Shoals treaty grounds and took those who were loyal to him and his way of thinking into southeastern Tennessee, near present-day Chattanooga. This group came to be called the "Chickamauga" after the nearby creek of the same name. Dragging Canoe and this group went on to become the chief protagonists of the Cherokee-American wars.

Settlement

Prior to the signing of the Sycamore Shoals Treaty, Henderson had hired Daniel Boone, an experienced hunter, to travel to the Cherokee towns and to inform them of the upcoming negotiations. Boone had been in southeast Kentucky long before the founding of any Kentucky settlements.
Afterward, Boone was hired to blaze what became known as the Wilderness Road, which went from southwestern Virginia north through the Cumberland Gap and into central Kentucky. During this trail-blazing expedition, Boone and his party suffered several Indian attacks. Along with a party of about thirty workers, Boone cleared a path from the Cumberland Gap to the Kentucky River, where he established Boone's Station (today Boonesborough) which was intended to be the capital of Transylvania. Unknown to Boone, Henderson led another expedition following in Boone's tracks, widening the path so travellers could bring through wagons. In addition to Boone's Station, other settlements, including Harrod's Town, Logan's Fort (formerly St. Asaph), Lexington and Kenton's Station (also called Limestone) were established at this time. Many of these settlers had come to Kentucky on their own initiative, and some of them refused to recognize Transylvania's authority.

When Henderson arrived at Boonesborough fewer than a hundred people resided there. This population and a few other settlements in the area constituted the sparse concentration of white settlers in the isolated western wilderness. The settlers recognized their precarious situation. They not only faced significant Indian hostilities, but lacked adequate supplies and shelter. Notwithstanding these circumstances, Henderson urged settlers in the area to hold a constitutional convention.

Henderson's plan involved the various settlements scattered across Transylvania sending delegates to Boonesborough, acting in the name of the people they represented and whose consent would justify the convention. Representatives from Harrod's Town, Boiling Spring (adjacent to Harrod's Town), Logan's Fort and Boone's Station attended. In May 1775, under the shade of a huge elm tree, a three-day convention met. In addition to passing nine bills dealing with immediate matters of governance, delegates drafted a compact that organized a frame of government, known as the Transylvania Compact. This plan included executive, legislative, and judicial branches.

Demise
After concluding the compact, Henderson returned to North Carolina. On behalf of his fellow investors in the land scheme he petitioned the Continental Congress, seeking to make Transylvania a legally recognized colony. Despite those efforts, the Congress declined to act without the consent of Virginia and North Carolina, both of whom claimed jurisdiction over the region in question. In June 1776 the Virginia General Assembly prohibited the Transylvania Land Company from making any demands on settlers in the region. In December 1778, Virginia's Assembly finally declared the Transylvania claim void.  In compensation, Henderson and his partners received a grant of 200,000 acres (312 square miles) on the Ohio River below the mouth of Green River.  An early settlement there was named Red Banks, and became the city of Henderson in 1797.

Henderson pressed on with his remaining modest claim in Tennessee, and it was finally invalidated by North Carolina in 1783. Henderson was similarly compensated there with a land grant of 200,000 acres in Powell Valley.

See also
 Vandalia Colony, which would have abutted Transylvania along the Kentucky River
Isaac Shelby, surveyor for the Transylvania Company and future KY governor
Transylvania University namesake, but unrelated to the Transylvania Purchase
Henderson County, Kentucky, the namesake county whose seat was Henderson

References

Further reading
Abernethy, Thomas Perkins. Western Lands and the American Revolution. New York: Russell & Russell, 1959.

External links
"Transylvania Purchase", entry from the Tennessee Encyclopedia of History and Culture

Early American land companies
Colonial settlements in North America
Former regions and territories of the United States
Pre-statehood history of Tennessee
Pre-statehood history of Kentucky
1776 disestablishments
States and territories established in 1775
1775 establishments in the British Empire

Transylvania Colony


Wordle is a word game developed by Josh Wardle. Players have six guesses to find a five-letter word. After each guess the computer shows the player a colour-coded version of their word, thus helping them reach the right answer.

This shows the player if each letter in the word is:

 in the word and in the right place      (shown as green)
 in the word and in the wrong place   (shown as yellow)
 not in the word                                  (shown as grey)

There is only one word to guess per day.

Other websites
 Official Wordle website

games

Wordle


Hail Mary is a Christian prayer to Mary, the mother of Jesus. Most of the prayer comes from the Gospel of Luke. Some things were also added to the prayer during the 13th century (the 1200s). When a person says a Hail Mary, they asks Mary to pray for them.

In Roman Catholicism, the Hail Mary is the most prevalent prayer in the Rosary. The Eastern Orthodox and Oriental Orthodox also use the prayer. So do many other groups within Christianity, including Anglicans, Independent Catholics, and Old Catholics. Some Protestant denominations also use the Hail Mary.

Hail Mary in the Bible
The Hail Mary uses two phrases from Saint Luke's Gospel. The first is "Hail, full of grace, the Lord is with thee, blessed art thou amongst women" ().  (In Simple English, this means: "Be glad.  You are full of grace.  You are with God.  You are blessed.")  The second is "Blessed art thou amongst women and blessed is the fruit of thy womb" ().  (This means: "You and your child (Jesus) are both blessed.")

When the Hail Mary was first created, it was much shorter than it is now.  In Western Europe, in the mid-13th century, the prayer was just a few words. The word "Mary" was added after the word "Hail."  The entire prayer was "Hail Mary, full of grace." We know this from Saint Thomas Aquinas's writings about the prayer.

In the first phrase from Saint Luke's Gospel, the Angel Gabriel is greeting Mary.  Like all of Saint Luke's Gospel, this phrase was first written in Koine Greek. The first word of greeting, , chaíre, is translated "Hail."  This means "Rejoice" or "Be glad."  This was a normal greeting in Koine Greek.  These greetings are still used in modern Greek.

The prayer in Eastern (Greek) tradition
The Hail Mary prayer used by the Eastern Orthodox Church and Eastern Catholic Churches is written:  This means:
Theotokos Virgin, rejoice, Mary full of grace, the Lord is with you. Blessed are you among women, and blessed is the fruit of your womb, for you have borne the Saviour of our souls.

The same thing can be translated differently into English:

Mother of God and Virgin, rejoice, Mary full of grace, the Lord is with thee. Blessed art thou amongst women, and blessed is the fruit of thy womb, for thou hast given birth to the Saviour of our souls.

"Theotokos" is the title given to Mary in the Eastern Churches.  It is a Greek word that means "the one who gives birth to God."

The prayer in Western (Latin) tradition
There are different ideas about when the Hail Mary was changed to today's version.  The Catholic Encyclopedia says that the Hail Mary was not changed until about 1050.

Saint Thomas Aquinas said that by the mid-thirteenth century, the Western churches had added only one word - "Mary" - to the Biblical verses the prayer came from. Adding her name made it clear that Mary was the person the prayer talked to.  However, around the same time, the name "Jesus" was also added. This made it clear that Jesus was "the fruit of [Mary's] womb."

This means that the Western version of the Hail Mary did not come from the Greek version.  The Greek version has very different words, like "for thou hast given birth to the Saviour of our souls," which never appeared in the Western version.

Before the 16th century, the Hail Mary greeted and praised Mary.  However, during the 16th century, new words were added.  These new words asked Mary for help.  In 1555, a Dutch Jesuit named Petrus Canisius added these words to his catechism: "Holy Mary, Mother of God, pray for us sinners."  By the time of the Council of Trent eleven years later, this sentence, and some new words, had been added to the Hail Mary.  In 1566, the Catechism of the Council of Trent included this sentence in the prayer: "Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen."

This is the last change that has been made to the Hail Mary.

In Latin, the prayer is written this way (the macrons are given for pronunciation only and do not appear in the Latin language):

Avē Marīa, grātia plēna, Dominus tēcum. Benedicta tū in mulieribus, et benedictus frūctus ventris tuī, Iēsus.
Sancta Marīa, Māter Deī, ōrā prō nōbīs peccātōribus, nunc et in hōrā mortis nostræ. Āmēn.
Hail Mary, full of grace, the Lord is with thee; blessed art thou among women, and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.

For translations from the Latin into various languages, see Wikisource.

The prayer in Syriac Orthodox tradition
The Syriac Orthodox Church uses a different version of the Hail Mary. This version is much closer to today's Western form than the Greek form.

In this prayer, a leader starts the prayer and everyone else says the rest:

Leader: Hail Mary, full of grace.
People: Our Lord is with Thee. Blessed art Thou among women, and blessed is the fruit of Thy womb, our Lord, Jesus Christ. O Virgin Saint Mary, O Mother of God, pray for us sinners, now and at all times, and at the hour of our death. Amen.

Usage in the Eastern Orthodox and Eastern Catholic Churches
In the Eastern Orthodox and Eastern Catholic Churches, the Hail Mary is very common.  It is said in the Greek form, or in translations from the Greek form.  The prayer is not said quite as often as in the West. However, it is well-known and is still used often.  It also appears in several canons of prayer.  It is usually sung three times at the end of Vespers during an All-Night Vigil.  It is also said many times during daily prayers.

Variant Slavonic versions
There are two different versions of the Hail Mary in Church Slavonic:

Богородице дѣво радѹйсѧ
ωбрадованнаѧ Марїе
Господь съ тобою
благословена ты въ женахъ,
и благословенъ плодъ чрева твоегω,
Якω родила еси Христа Спаса,
Избавителѧ дѹшамъ нашимъ.
Theotokos Virgin, rejoice, (or, Rejoice, O Virgin Theotokos)
Mary full of grace,
the Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb,
for thou hast borne Christ the Saviour,
the Deliverer of our souls.

Богородице дѣво, радѹйсѧ,
Благодатнаѧ Марїе,
Господь съ тобою:
благословена Ты въ женахъ,
и благословенъ плодъ чрева Твоегω;
якω Спаса родила еси дѹшъ нашихъ.
Theotokos Virgin, rejoice,  (or, Rejoice, O Virgin Theotokos)
Mary full of grace,
The Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb,
for thou hast borne the Saviour of our souls.

The first version is older.  The Old Believers still use this version.  So do the Ukrainian Greek-Catholic Church and the Ruthenian Catholic Church.

The second version was created in 1656, as part of changes to liturgy made by Patriarch Nikon of Moscow. This version is used by the Russian Orthodox Church, the Serbian Orthodox Church, the Bulgarian Orthodox Church, and the Ukrainian Orthodox Church.

Usage in the Roman Catholic Church

The Hail Mary is the most important part of the Rosary.  The Rosary is a way of praying. It is often used by Latin Rite (Western) Catholics. It is also used in the East (but only by Latinised Ukrainian and Maronite Catholics).

When praying the Rosary, Catholics pray ten sets of Hail Marys.  Before each set, they pray one Our Father (also called the Pater Noster or The Lord's Prayer).  After each set of Hail Marys, they pray one 'Glory Be' (Gloria Patri).  One set of these prayers is called a "decade."  Usually, Catholics say five decades when they pray the Rosary.

While praying each decade, Catholics think about the four different Mysteries of the Rosary.  Each of the Mysteries has to do with things that happened in Jesus' and Mary's lives.  The Mysteries include:
 Things that happened during Jesus's childhood (Joyful Mysteries)
 Jesus' public ministry (Luminous Mysteries)
 The Passion, including Jesus' crucifixion (Sorrowful Mysteries)
 Jesus' Resurrection onwards (Glorious Mysteries)
The Hail Mary is also the most important part of the Angelus. This is a prayer that many Catholics say three times every day. Some Anglicans and Lutherans say the Angelus too.

Anglican use of the Hail Mary
Traditional Anglicans also use the Hail Mary, in mostly the same way as Roman Catholics do.  Both groups use the Rosary and say the Angelus.  Anglican churches often have statues of the Virgin Mary.

Many Anglicans pray the Hail Mary.  However, in different areas, the prayer may be used differently. This is because the Catholic and Anglican Churches have some different beliefs.

Musical settings
Many people have written music for the Hail Mary (also called the Ave Maria).

During the Renaissance
During the Renaissance, the Hail Mary very often set to music by composers, like Jacques Arcadelt, Josquin Desprez, Orlando di Lasso, and Giovanni Pierluigi da Palestrina.  However, at this time (before the Council of Trent), there were still different versions of the prayer. Because of this, some of the earlier Renaissance pieces have different words than today's Hail Mary.  For example, Josquin Desprez actually created more than one musical version of the Ave Maria.

Later versions
One of the most famous musical versions of the prayer was created by Charles Gounod in 1859.  He added melody and words to Johann Sebastian Bach's first prelude (the beginning piece of music) from The Well-Tempered Clavier.

Other famous musical versions of the Hail Mary were written by:
 Antonín Dvořák in 1877
 Giuseppe Verdi, a famous composer, in 1887 (for his opera Otello)
 César Cui, a Russian composer.  He set the Hail Mary to music at least three different times.  First he wrote the Ave Maria in 1886.  He also used the prayer as part of two of his operas: Le Flibustier (1894) and Mateo Falcone (1907).
 Famous composers including Mozart, Byrd, Elgar, Verdi, Saint-Saens, Rossini, Brahms and Perosi
 Famous Eastern European composers - including Rachmaninov, Stravinsky, and Bortniansky - who wrote musical versions of the Hail Mary in Slavonic

In Protestantism

Protestant Christianity does not venerate Mary.  Some Protestants have used musical versions of the Ave Maria, but changed the words.  For example, Ave Redemptor uses the music of the Ave Maria, but focuses on Jesus instead:

Ave redemptor, Domine Jesus:
Cujus ob opus
Superatur mors, enim salvatio
Nunc inundavit super universam terram.

Sancte redemptor, reputata
Fides est nobis peccatoribus,
Nunc et in morte, ad iustitiam.ENGLISH TRANSLATION
Hail the Redeemer, Lord Jesus,
By whose work
Death is defeated, for salvation
Has now overflowed upon all of the world.

Holy redeemer, our faith
Is reckoned to us sinners,
Now and in death, as righteousness.

References

Other websites
The prayer on roman-catholic-prayers.com
Ave Maria on video/audio sung by Sharon Janis
Catholic Encyclopedia 1910: Hail Mary
Brief commentary on the Hail Mary from the Catechism of the Catholic Church
Ave Maria  article in Christian Cyclopedia
Various Ave Maria hymn  Ave Maria(MIDI by JE1EMU)
Text of the Hail Mary in many foreign languages
http://www.ewtn.org

Christian prayers
Mary, mother of Jesus

Hail Mary


Constructed in 1855 of native limestone, the Custer House is a historic house museum located on Fort Riley in Kansas, United States. It reflects Fort Riley's earliest history and authentically depicts military home life on the western frontier during the Indian Wars Period.

It is largely unchanged from its original design and furnished with period furniture from the 1880 through the 1890s.

Originally thought to have been the home of George Armstrong Custer, later research showed that General and Mrs. Custer occupied the sister-set of quarters (#21) while stationed here in 1866.

Visitor access
Custer House, located at #24, Sheridan Ave., is open during the summer season for visitors (from Memorial Day to Labor Day). Hours are 10 a.m. to 4 p.m., Monday - Saturday and 1-4 p.m., Sundays. Visitor access is free; donations are suggested.

Custer House is also available, upon request, by coordinating with the nearby Fort Riley Cavalry Museum.

Since the museum is on an active U.S. Army post, there are minor restrictions on visitors, namely a requirement for state or federally issued photo identification (i.e. a driver's license).

References

External links
Fort Riley Museums

Military and war museums in Kansas
Historic house museums in Kansas
Museums in Geary County, Kansas
Houses in Geary County, Kansas

Custer Home


The Magnificent Dope is a 1942 American comedy film released by 20th Century Fox. It is also known as Lazy Galahad, Strictly Dynamite and The Magnificent Jerk.

Plot

Dwight Dawson runs a hype-driven self-improvement course in the Dale Carnegie mode. He and his partner Horace Hunter are seeking new sales ideas as enrollment has declined sharply. Their chief of marketing, Claire Harris, who is also Dwight's fiancée, comes up with an idea to announce a contest seeking the biggest loser in the country. The prize is $500 and Dwight's course in career advancement. The idea is that the contest will create interest to Dwight's teaching system.

A winner is chosen: Thadeus Winship Page from the small town of Upper White Eddy in Vermont. He is running a not overly successful business of renting out boats during summer time and is, by his own description, lazy and completely unmotivated.

Tad comes to New York City to collect his prize, determined to use the money toward a fire engine needed by the small town. The publicity stunt is jeopardized, though, when happy, contented Tad does not want to take the course. Tad is charmed by Claire during a night out in the city and falls in love with her, all the while expounding his own philosophies on relaxation, enjoying life, and the unimportance of money. After the night out, Tad reluctantly agrees to take the course, just to be close to Claire.

Claire comes to realizes that he is not the failure they had thought him to be. After a while, Tad shyly admits to Claire that he is in love, but he doesn't dare tell her she is the subject of his affection, inventing a girl from his hometown named "Hazel".

When Dwight hears about this, he tells Tad that the business course will help him in his quest to win his girl. Tad believes Dwight and continues the course until he hears that Claire is in love with someone else. Dwight and Horace have to persuade him once again to stay, telling Tad that the man Claire is in love with is an ugly, fat, and stupid man who can be out-conquered, carefully concealing his own engagement to Claire.

The publicity makes the course a success and attendance becomes much higher. Dwight convinces Tad to get a job to prove his success to the various magazines covering the course progress, so he does. He is hired as an insurance salesman, but is soon discouraged when he is unsuccessful. Dwight secretly helps out by making his friend buy an insurance policy from Tad, unaware that his friend, Frank Mitchell, has high blood pressure and would not pass the required physical. Tad commits his anticipated commission to the purchase of the fire engine, and takes Claire to see it. They bond further over Claire's passion for fire engines; she was a fire chief's niece.

When Tad finally reveals to Claire that she is his "Hazel", she reveals her engagement to Dwight. Heartbroken and humiliated, Tad feels he has been played for a fool by the couple.

The next day, after dodging Claire's many phone calls, Tad uses a special relaxation technique on Frank to help him pass the necessary physical, then proceeds to Dwight's office to vent his anger.  Instead, he joins the rest of the office in overhearing a furious Claire in Dwight's office scolding him for the ruse and confessing her love for Tad. When Claire exits the building she finds Tad waiting in the new fire engine.  With the siren blaring, they drive off to Vermont together as a couple. Dwight moves on to teach relaxation, using the technique Tad showed him.

Cast
 Henry Fonda as Thadeus Winship "Tad" Page
 Lynn Bari as Claire Harris
 Don Ameche as Dwight Dawson
 Edward Everett Horton as Horace Hunter
 George Barbier as James Roger Barker
 Frank Orth as Messenger
 Roseanne Murray as Dawson's Secretary
 Marietta Canty as Jennie
 Hobart Cavanaugh as Albert Gowdy
 Hal K. Dawson as Charlie
 Josephine Whittell as Mrs. Hunter
 Arthur Loft as Mr. Morton, Fire Engine Salesman
 Paul Stanton as Peters
 Claire Du Brey as Peter's Secretary
 William B. Davidson as Mr. J. D. Reindel
 Harry Hayden as Frank Mitchel
 Pierre Watkin as Bill Carson

References

External links

1942 films
1942 comedy films
20th Century Fox films
American comedy films
American black-and-white films
Films directed by Walter Lang
Films scored by David Raksin
Films scored by Emil Newman
Films scored by Leigh Harline
Films set in New York City
Publicity stunts in fiction
Films produced by William Perlberg
1940s English-language films
1940s American films

The Magnificent Dope


Cottey College is a private women's college in Nevada, Missouri. It was founded by Virginia Alice (Cottey) Stockard in 1884. Since 1927 it has been owned and supported by the P.E.O. Sisterhood, a philanthropic women's organization based in Des Moines, Iowa. For most of its history, Cottey was a two-year liberal arts college, and in 2011 it achieved accreditation as a four-year baccalaureate-granting college. It had 302 full-time students enrolled in 2021.

Cottey is situated on  of land in Nevada, Missouri, the Vernon County seat and a rural town of 8,198 people (by the 2020 estimate). The main campus occupies 11 city blocks. Five blocks south is B.I.L. Hill, a private lodge that rests above a public park which includes a walking trail, gazebo, and small lake. BIL Hill is used by Cottey students, faculty, and staff for recreation, concerts, bonfires, picnics, suite nights, and other traditions.

History

Beginnings

Cottey College was founded by Virginia Alice Cottey (known as Alice Cottey) in 1884; she originally called it Vernon Seminary, based on the county. After teaching at Central College in Lexington, Missouri since 1875, Cottey decided she wanted to establish her own school. She had saved $3,000, and her sisters Dora and Mary lent her nearly $3,000 of their savings to begin the school.

Several towns bid for the opportunity to host the new girls' school, including Fort Worth, Texas and several towns in Missouri. After much thought, Cottey accepted the offer of Nevada in Vernon County, although it was not the most generous. Residents donated  of land upon which Cottey had a three-story brick building constructed. After the college expanded, this building came to be known as Main Hall.

Vernon Seminary opened its doors in 1884 as a primary, intermediate, and collegiate preparatory school. In those early years, before educational standardization in the U.S., placement of students depended more upon their accomplishments than age. In 1886 the school's name was officially changed to Cottey College. By 1932, the college consisted only of the higher education part, offering a two-year program.

In 1927, Cottey offered the college to the P.E.O. Sisterhood (Philanthropic Educational Organization), an international organization based in Des Moines, Iowa that supports women's education. She made a condition that they raise a $200,000 endowment for the college (about $2.9 million in 2018 dollars), in order to maintain and operate it for the long term.  The P.E.O. accepted, and have since owned and operated the private Cottey College.

Enrollment
Enrollment grew from 28 to 72 students during the first year, and by 1910 there were 250 students. Attendance dropped during the 1930s and '40s, but rose to maximum capacity of 350 by the 1970s.

With more two-year local community colleges opening in the later 20th century, Cottey had a slow decline in enrollment during the 1990s and into the 2000s. It was also a period when some young women preferred co-ed institutions in larger communities. The college worked to restore enrollment and to expand its offerings to a full, four-year curriculum, which it achieved in 2011. By 2017, the number of students totaled 307.

Student life

Residential life

Students come from more than 40 states and in the 2018–19 school year, international students came from 20 different countries.

Cottey students live in one of three campus halls (P.E.O., Reeves, and Robertson), each having between 10 and 14 suites. These include a few bedrooms, a bathroom, and a kitchenette arranged around a living room. Student rooms have typical college furnishings. Suites are occupied by between 8 and 12 students. Most suites are sponsored by a P.E.O. chapter, and suite members usually receive several care packages from these P.E.O.s during the year. Sponsorship of some suites has changed over time, their names changing as well.

Residence halls
P.E.O. Hall is the oldest of the existing dormitories, and was erected in 1939. It has 10 suites, housing about 100 students. It was the first building to be paid by the P.E.O. Sisterhood after they acquired the college.

Reeves Hall was built in 1949 on the site where a prior Cottey dorm, Missouri Hall, had burned down in 1940. Like P.E.O., it houses 10 suites and about 100 students. It is noted for having the largest basement of the three halls, and a foyer reminiscent of a classic hotel lobby.

Robertson Hall (Robbie) was the last Cottey dorm to be built, being erected in 1959. It houses 14 suites (about 150 students) as well as the college's dining facility, Raney Dining Hall and the Centennial Room. It is noted for being the only hall with air conditioning and an elevator, and for having the smallest basement.

Each hall has recreational rooms, computer suites, laundry facilities, and quiet study rooms elsewhere in each building.

Cottey has had several prior dormitories, including Rosemary Hall (est. 1903) and Missouri Hall (1928–1940). Main Hall was also used as a dorm from 1884 to 1939.

International experience
In 2000, the college established a spring trip abroad for second-year students and other eligible students. Since the first international experience trip in 2000, each second-year class has traveled to one of several destinations: Paris, London, Barcelona, Madrid, Rome, or Florence. For each European destination, the cost of airfare and hotel stays have been paid by the college.  Alternative trips to destinations including Japan, Peru, Thailand, Guatemala and New Zealand have sometimes incurred additional fees.

Athletics
The Cottey athletic teams are called the Comets. The college is a member of the National Association of Intercollegiate Athletics (NAIA), primarily competing in the American Midwest Conference (AMC) since the 2022–23 academic year. The Comets previously competed as an NAIA Independent within the Continental Athletic Conference from 2018–19 to 2021–22.

Cottey competes in nine intercollegiate varsity sports: basketball, cross country, eSports, flag football (added in 2020), golf, softball, track and field (indoor and outdoor) and volleyball.

History
When intercollegiate athletics were re-introduced to the college in the 1998–99 academic year, the Comets competed in the National Junior College Athletic Association (NJCAA).

Notable alumnae

Jetta Carleton '33 – author of The Moonflower Vine (1962), a New York Times Bestseller
Dora Dougherty Strother '41 – Women Airforce Service Pilot, one of the first two women to pilot a B-29.
Ruby Kless Sondock '44 – First woman justice on the Texas Supreme Court
Francine I. Neff '46 – Treasurer of the United States, 1974–1977
Marilyn Harris Springer '51 – Best-selling author of the Eden series and Hatter Fox.
Carol Littleton '62 – Film editor, nominated for an Oscar for E.T. The Extra-Terrestrial
Judith P. Morgan – Painter
Judith McCulloh – Folklorist, ethnomusicologist, and university press editor

References

Further reading
 Campbell, Elizabeth McClure. The Cottey Sisters of Missouri. Parkville, MO: Park College Press, 1970.
 Cottrell, Debbie Mauldin. "Mount Holyoke of the Midwest: Virginia Alice Cottey, Mary Lyon, and the founding of the Vernon Seminary for Young Ladies." Missouri Historical Review, vol. 90, no. 2 (Jan 1996), pp. 187–198. online
 Stockard, Orpha Loraine. The First 75 Years: Cottey College.
 Troesch, Dr. Helen DeRusha. The Life of Virginia Alice Cottey Stockard. Wayside Press, Inc., 1955.

External links

 Official website
 Official athletics website

Women's universities and colleges in the United States
Liberal arts colleges in Missouri
Educational institutions established in 1884
Buildings and structures in Vernon County, Missouri
Education in Vernon County, Missouri
1884 establishments in Missouri
NJCAA athletics
Two-year colleges in the United States
Private universities and colleges in Missouri
Women in Missouri

Cottey College


Madeleine Riffaud (born 23 August 1924) is a French poet, journalist, war correspondent and a member of the French Resistance. She was born in Arvillers, France. Riffaud was awarded the National Order of Merit.

She began operating for the French Forces of the Interior at the age of 18 under the codename "Rainer". On July 23, 1944, at age 19, she became known for the killing of a German officer, whom she shot dead. Shortly afterwards, she was captured by the Gestapo and was nearly executed.

After the war ended in 1945, she became a journalist for Ce Soir, a French newspaper.

References

1924 births
Living people
French journalists
French poets
French World War II resistance members
War correspondents

Madeleine Riffaud


"The Sopranos", also known as "Pilot", is the first episode of the HBO television drama series, The Sopranos, which premiered on January 10, 1999. It was written and directed by the series creator and executive producer David Chase.

Synopsis
In the summer of 1998, New Jersey mobster Tony Soprano, a capo in the DiMeo crime family, is referred to a psychiatrist, Dr. Jennifer Melfi, after having a panic attack. Tony tells Melfi he is a waste management consultant, but she knows who he actually is. After Melfi establishes what will and will not fall under doctor-patient confidentiality, Tony begins to partly open up.

Tony has recently been dealing with tensions between his wife Carmela and teenage daughter Meadow, as well as trying to keep his nephew, Christopher Moltisanti, in check. Tony's uncle, Corrado "Junior" Soprano, resents Tony for rising in the family hierarchy while he himself is in decline. Tony also has a strained relationship with his mother, Livia, who is resisting his advice to move into a retirement home.

A confrontation with Livia triggers another panic attack, causing Tony to return to Melfi. He tells her about a family of ducks that were living in his swimming pool, but left when the ducklings fledged. Guided by Melfi, Tony realizes he is sad to see them go because he dreads losing his own family; to his consternation, this makes him cry.

A Czech-American criminal organization is bidding against Tony for a waste management contract. Christopher unilaterally murders one of the Czechs, Emil Kolar, resulting in the Czechs withdrawing their bid.

Junior wants to kill turncoat "Little Pussy" Malanga in a restaurant he frequents, owned by Tony's lifelong friend Artie Bucco. Thinking the murder would ruin the restaurant's reputation, Tony unsuccessfully tries to persuade Junior to carry out the hit at a different location. He then tries to get Artie to close the restaurant for three weeks by offering cruise tickets, but his wife Charmaine refuses them. Finally, Tony has his right-hand man Silvio Dante bomb the restaurant; Artie's reputation will not be damaged, and he will be able to claim insurance compensation.

Mahaffey, an HMO employee and "degenerate gambler," is in debt to Tony and Hesh Rabkin, an old Jewish friend of Tony's father. While driving with Christopher, Tony spots Mahaffey and runs him down, breaking his leg. He then concocts a scheme for Mahaffey's company to make insurance claims payable to non-existent clinics in order to pay off his debts, with which Mahaffey is forced to comply.

At a birthday party for Tony's adolescent son A.J., Christopher, frustrated about not receiving recognition for killing Kolar, tells Tony he is thinking of turning his life story into a Hollywood script, which Tony angrily forbids.

As he drives Livia to the party, an embittered Junior says, "Something may have to be done about Tony." Livia doesn't say anything, but shows a hint of a smile.

Cast
 James Gandolfini as Tony Soprano
 Lorraine Bracco as Dr. Jennifer Melfi
 Edie Falco as Carmela Soprano
 Michael Imperioli as Christopher Moltisanti
 Dominic Chianese as Corrado Soprano, Jr.
 Vincent Pastore as Pussy Bonpensiero
 Steven Van Zandt as Silvio Dante
 Tony Sirico as Paulie Gualtieri
 Robert Iler as Anthony Soprano, Jr.
 Jamie-Lynn Sigler as Meadow Soprano
 Nancy Marchand as Livia Soprano

Production

Pre-production for the pilot commenced in the summer of 1997, a year and a half before the series debuted on TV. The episode was filmed in August 1997 and completed by October 1997. Despite being well received by Chase's closest friends and the cast and crew who watched it, Chase feared the pilot would not be picked up by HBO and, in that case, planned to ask the network for additional money to shoot another 45 minutes and turn it into a feature film. Chase was also pressured by another, completely new development deal offered to him by another network, which he kept postponing until he heard HBO's verdict on The Sopranos. Right before Christmas of 1997, David Chase received a phone call and learned that HBO did like the pilot and ordered a full season, all of which happened about two hours before the deadline for accepting the other network's deal. Chase was relieved as if "let out of jail. It was like a reprieve from the governor." "The Sopranos" is the first of only two episodes directed by Chase. The other is the series finale, "Made in America". Although this episode is titled "The Sopranos" on the VHS, DVD, Blu-ray, and reruns on A&E, it was referred to as "Pilot" when originally aired.

During the year-long break between the pilot and the start of the shoot of the rest of the 12 episodes of the season, James Gandolfini gained 60 pounds for the role of Tony and underwent voice coaching. Siberia Federico and Michael Santoro play Irina and Father Phil respectively. For future episodes, these roles were recast with Oksana Lada and Paul Schulze. Drea de Matteo was originally simply cast as a restaurant hostess for this one episode only. The filmmakers liked her performance, and her character was developed into the role of Adriana La Cerva in future episodes. The pork store used as a meeting place is Centanni's Meat Market, a real butcher shop in Elizabeth, New Jersey. However, because the shop had a steady business and because local business owners were annoyed with the incidental effects of having a television production being shot on a weekly basis, HBO acquired an abandoned auto parts store in Kearny, New Jersey which became Satriale's Pork Store for use in future episodes.

Awards
David Chase won the Directors Guild of America Award for Outstanding Directing – Drama Series for his work on this episode and a Primetime Emmy Award for Joanna Cappuccilli for Outstanding Single-Camera Picture Editing for a Drama Series. It was also Emmy-nominated for Outstanding Directing for a Drama Series and Outstanding Writing for a Drama Series for David Chase. James Gandolfini and Nancy Marchand both submitted this episode for the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series & Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series, respectively. Nancy Marchand additionally submitted the next episode, 46 Long.

References

External links
 "The Sopranos"  at HBO

1999 American television episodes
American television series premieres
The Sopranos (season 1) episodes
Television episodes written by David Chase
Television episodes directed by David Chase

The Sopranos (The Sopranos episode)


KDMI (channel 19) is a religious television station in Des Moines, Iowa, United States, owned and operated by Tri-State Christian Television (TCT). The station's transmitter is located in Alleman, Iowa. KDMI maintained studios on Southwest 7th Street in downtown Des Moines until TCT ended local operations in June 2018.

History
KDMI signed on August 28, 2006, as an America One affiliate.  MyNetworkTV programming was added upon its launch on September 5. As MyNetworkTV's prime time lineup only aired six days a week for two hours, America One programming was retained in all other timeslots. By the fall of 2007, KDMI began carrying some first-run syndicated programs, including Family Feud and TMZ on TV.

In 2009, America One was dropped in favor of This TV; the station initially discontinued the MyNetworkTV affiliation following its conversion to a programming service (one program from the service, WWE SmackDown, then aired on KCWI-TV until September 11, 2010, when the program moved to cable channel Syfy later that October). Outside of some syndicated programming, KDMI's schedule was then filled solely by This TV; however, as of October 3, 2011, KDMI re-affiliated with MyNetworkTV, although the station aired the service's programming 11 p.m.–1 a.m. (some nights 11:30 p.m.–1:30 a.m., depending on the length of one of This TV's second prime time movie broadcasts). KDMI dropped MyNetworkTV once again after September 27, 2014; the MyNetworkTV affiliation was later moved to a subchannel of KCCI on December 1, 2014.

The KDMI call letters were previously used for two different radio stations in Des Moines. From 1960 to 1994 they were used at 97.3 FM, a Christian radio station owned by Buddy Tucker. After 97.3 became KHKI, the KDMI call letters were moved to 1460 AM before that station became KXNO at the beginning of 2001.

On January 6, 2016, Pappas Telecasting filed to sell KDMI to Tennessee non-profit corporation Dove Broadcasting, Inc., for $1 million. Although TCT began operating the station on March 14 under a local marketing agreement (LMA), the sale was formally consummated on April 27. Prior to the sale's closing, it was one of the few television stations in the country to carry the This TV network affiliation on its primary channel.

Technical information

Subchannels
The station's digital signal is multiplexed:

References

External links

Television stations in Des Moines, Iowa
Television channels and stations established in 2006
2006 establishments in Iowa
Tri-State Christian Television affiliates
This TV affiliates

KDMI


Dorothy Leigh Sayers (; 13 June 1893 – 17 December 1957), known professionally as Dorothy L. Sayers, was an English crime novelist, playwright, translator and critic.

Born in Oxford, Sayers was brought up in rural East Anglia and educated at the Godolphin School in Salisbury and Somerville College, Oxford, graduating with first class honours in medieval French. She worked as an advertising copywriter between 1922 and 1929 before success as an author brought her financial independence. Her first novel Whose Body? was published in 1923. Between then and 1939 she wrote ten more, all of them detective stories, and all but one featuring the upper-class amateur sleuth Lord Peter Wimsey. In 1930, in Strong Poison, she introduced a leading female character, Harriet Vane, the object of Wimsey's love. Harriet appears sporadically in future novels, resisting Lord Peter's proposals of marriage until Gaudy Night in 1935, six novels later.

Sayers moved the genre of detective fiction away from pure puzzles lacking characterisation or depth, and became recognised as one of the four "Queens of Crime" of the Golden Age of Detective Fiction of the 1920s and 1930s, along with Agatha Christie, Margery Allingham and Ngaio Marsh. She was a founder member of the Detection Club, and worked with many of its members in producing novels and radio serials collaboratively, such as the novel The Floating Admiral in 1931.

From the mid‐1930s Sayers wrote plays, most were on religious themes; they were performed in English cathedrals and broadcast by the BBC. Her radio dramatisation of the life of Christ, The Man Born to Be King (1941–42), initially provoked controversy but was quickly recognised as an important work. From the early 1940s her main preoccupation was translating the three books of Dante's Divine Comedy into colloquial English. She died unexpectedly at her home in Essex, aged 64, before completing the last of the three.

Life and career

Early years
Sayers was born on 13 June 1893 at the Old Choir House in Brewer Street, Oxford; she was the only child of the Rev Henry Sayers and his wife Helen (Nell) Mary,  Leigh. Henry Sayers, born at Tittleshall, Norfolk, was the son of the Rev Robert Sayers, from County Tipperary, Ireland. At the time of Sayers's birth her father was headmaster of Christ Church Cathedral School and college chaplain of Christ Church, one of the colleges of the University of Oxford. Her mother, born in Shirley, Hampshire, was a daughter of a solicitor descended from landed gentry on the Isle of Wight. Sayers was proud of the Leigh connection and later considered calling herself "D. Leigh Sayers" in professional matters, before settling for "Dorothy L. Sayers"—insisting on the inclusion of the middle initial.

When Sayers was four years old her father accepted the post of rector of Bluntisham-cum-Earith in the Fen Country of East Anglia. The appointment carried a better stipend than the Christ Church posts and the large rectory had considerably more room than the family's house in Oxford, but the move cut them off from the city's lively social scene. This affected the rector and his wife differently: he was scholarly and self-effacing; she, like many of the Leigh family—including her great-uncle Percival Leigh, a contributor to the humorous magazine Punch—was outgoing and gregarious and she missed the stimulation of Oxford society.

The lack of siblings and neighbouring children of her own age or class made Sayers's childhood fairly solitary, although her parents were loving and attentive. She formed one lasting friendship in these years: Ivy Shrimpton, eight years her senior, her first cousin and Nell's niece. Shrimpton, raised in California as an infant but educated in an Anglican convent school in Oxford, made extended visits to the Bluntisham rectory. In the Oxford Dictionary of National Biography (ODNB), Catherine Kenney writes that the two formed a lifelong friendship through "a youthful sharing of books, imagination, and confidences". Otherwise, Kenney comments, Sayers, "like many future authors ... lived largely a life of books and stories". She could read by the age of four, and made full use of her father's extensive library as she grew up.

Schooling
Sayers was educated chiefly at home. Her father began teaching her Latin before she was seven, and she had lessons from governesses in other subjects, including French and German.  When she was fifteen, her parents sent her to a boarding school, and in January 1909 she entered the Godolphin School in Salisbury. Her biographer Barbara Reynolds writes that Sayers took a lively part in the life of the school, acting in plays, some of which she wrote and produced herself, singing (sometimes solo), playing the violin and the viola in the school orchestra and forming highly charged friendships.

Despite some excellent teachers, Sayers was not happy at the school. Joining at the age of fifteen, rather than the normal eight, she was seen as an outsider by some of the other girls, and not all the staff approved of her independence of mind. As an Anglican with strong high church views, she was repelled by the form of Christianity practised at the Godolphin, described by her biographer James Brabazon as "a low church pietism, drab and mealy-mouthed", which came close to putting her off religion completely.

During an outbreak of measles at the school in 1911 Sayers nearly died. Her mother was allowed to stay at the school, where she nursed her daughter who recovered in time to study and sit for a Gilchrist Scholarship, which she was awarded in March 1912. Among the purposes of these scholarships was to sponsor women to study at Oxbridge colleges. Sayers's scholarship, worth £50 a year for three years, enabled her to study modern languages at Somerville College, Oxford. After her experiences with the religious regime at the Godolphin, Sayers chose Somerville in preference to the other Oxford college for women, Lady Margaret Hall, which was closely connected to the Church of England; Somerville was secular.

Oxford
According to Kenney, Somerville had a tradition of nurturing strong women to play leading roles in the arts and public life, and the college suited Sayers well. She enjoyed her time there, and, she later said, acquired a scholarly method and habit of mind which served her throughout her life. She was a distinguished student, and, in Kenney's view, Sayers's novels and essays reflect her liberal education at Oxford. Among the lifelong friends she made at Somerville was Muriel St. Clare Byrne, who later played an important part in Sayers's career and became her literary executor.

Sayers was co-founder, with Amphilis Middlemore and Charis Ursula Barnett, of the Mutual Admiration Society, a literary society where female students would read and critique each other's work. Sayers gave the group its name, remarking, "if we didn't give ourselves that title, the rest of College would". The society was a forerunner of the Inklings, the informal literary discussion group at Oxford; Sayers never belonged to the latter—an all-male group of writers—but became friendly with C. S. Lewis and other members.

Sayers, who was considered to have a good contralto voice, joined the Oxford Bach Choir and developed an unrequited passion for its director, Hugh Allen. Later in her time at Oxford, she became attracted by a fellow student named Roy Ridley, later chaplain of Balliol, on whose appearance and manner she later drew for her best-known character, Lord Peter Wimsey. She studied diligently, with the encouragement of her tutor, Mildred Pope, and in 1915 she was awarded first class honours in what was termed modern (in fact medieval) French in her final examinations. Despite her examination results, she was ineligible to be awarded a degree, as Oxford did not formally confer them on women. When the university changed its rules in 1920, Sayers was among the first to have her degree formally conferred.

Early employment and first novel, 1916–1924

After graduating from Oxford, Sayers, who had begun writing verse in childhood, brought out two slim volumes of poetry, Op. I (1916) and Catholic Tales and Christian Songs (1918). To earn a living she taught modern languages at Hull High School for Girls. Teaching did not greatly appeal to her, and in 1917 she secured a post with the publisher and bookseller Basil Blackwell in Oxford. Returning to the city suited her well. A younger contemporary, Doreen Wallace, later described her in these years:

The post with Blackwell lasted for two years, after which Sayers moved to France. She was engaged in 1919 by a school near Verneuil-sur-Avre in Normandy as assistant to Eric Whelpton, who was teaching English there. She had been in love with him at Oxford, and he was among the models for the appearance and character of Wimsey. In 1921 Sayers began a relationship with a fellow writer, John Cournos, which intensified after her return to England shortly afterwards.

In 1922, after moving back to England, Sayers took a job as a copywriter at S. H. Benson, then Britain's largest advertising agency. Although she had reservations about the misleading nature of advertising, she became a skilled practitioner, and remained with the firm until the end of 1929. She originated successful campaigns for products including Guinness stout and Colman's mustard. She is sometimes credited with coining the slogan "My Goodness, My Guinness", but it dates from 1935, more than five years after she left Benson's. She was, though, responsible for the introduction of the Guinness toucan, painted by the artist John Gilroy, for which she penned accompanying verse such as "If he can say as you can/Guinness is good for you/How grand to be a Toucan/Just think what Toucan do". The toucan was used in Guinness's advertisements for decades. Kenney writes that at Benson's, Sayers again enjoyed "some of the fun and camaraderie she had experienced as a student at Oxford".

In her off-duty hours Sayers devoted herself to writing fiction. Detective novels were popular, and Sayers saw an opportunity to produce remunerative, accessible but well-written works in the genre. She mastered the mechanics of the craft by making a close analytical study of the best models. In a biographical sketch, a later crime novelist, J. I. M. Stewart, wrote:

The first of Sayers's series of detective novels, Whose Body?, featured her amateur detective Lord Peter Wimsey. She had begun writing it before joining Bensons, and it was published in 1923, to mixed reviews; one critic thought it a "somewhat complicated mystery ... clever but crude", and another found the aristocratic Wimsey unconvincing as a detective and the story "a poor specimen of sensationalism". Some other reviews were more favourable: "the solution does not, as is so often the case, come as anti-climax to disappoint expectations and lead the reader to feel that he has been 'had' ... We hope to hear from the noble sleuth again"; "We had hardly thought a woman writer could be so robustly gruesome ... a very diverting problem"; "First-rate construction ... a thoroughly satisfactory yarn from start to finish".

Sayers's relationship with Cournos continued until 1923. It remained unconsummated because Cournos did not want children and Sayers refused, for religious reasons, to use contraception. After that affair ended she met a man, Bill White, by whom she had a son in 1924. The novelist A. N. Wilson describes White as "motorcycling rough trade". That liaison was short-lived—White turned out to be married—and the son, whom Sayers named John Anthony, was brought up by Ivy Shrimpton, who already had foster children in her care. Sayers concealed her son's parentage from him and from the world in general. She was known to him at first as Cousin Dorothy, and she later posed as his adoptive mother. Only after her death were the facts made explicit.

Early novels, 1925–1929
Whose Body?, published in both Britain and the US, sold well enough for the London publishers, Fisher Unwin, to ask for a sequel. Before that was published Sayers featured Wimsey in a short story, "The Fascinating Problem of Uncle Meleager's Will", published in Pearson's Magazine in July 1925, which, together with other short stories centred on Wimsey, came out in book form in Lord Peter Views the Body in 1928.

Clouds of Witness, the second Wimsey novel, was published in 1926, and was well received. The Daily News commented:

Other reviewers wrote of a "well-written and pulsating mystery story, with an astonishing number of clues cleverly evolved, and totally unexpected conclusion", and a "pleasantly-going and smartly-written detective story"; another commented, "Miss Sayers is frankly out to thrill us; but her novel is something far other than a typical shocker. Her characters (especially her hero) are very much alive, and she has an admirable narrative style and great constructive skill". With this second novel, Sayers was being compared with the established crime novelist Agatha Christie as an author of detective stories that that were also entertaining novels about human beings.

In the same year Sayers married a divorcé, Captain Oswald Arthur (known as "Mac") Fleming, a well-known journalist. Her son was given the latter's surname but was not brought to live with Sayers and her husband. The marriage, happy at first, grew more difficult as Fleming's health declined, but the couple stayed together until his death in 1950.

The series of Wimsey novels continued with Unnatural Death in 1927, and The Unpleasantness at the Bellona Club in 1928. In that year Sayers published Lord Peter Views the Body and edited and introduced an anthology of other writers' works, Great Short Stories of Detection, Mystery and Horror, retitled for its American edition the following year as The Omnibus of Crime.

In 1929, her last year as an employee of Benson's, Sayers and her husband moved from London to the small Essex town of Witham, which remained their home for the rest of their lives. In that year she published Tristan in Brittany, a verse and prose translation of the 12th-century poetic fragments The Romance of Tristan by Thomas of Britain. The scholar George Saintsbury wrote an introduction to the book, and Sayers was praised for making a historically important poem available for the first time in modern English.

1930–1934
In 1930 Sayers became a founder member of the Detection Club. This grew from informal dinners arranged by Anthony Berkeley for writers of detective fiction "for the enjoyment of each other's company and for a little shop talk". The dinners proved such a success that the participants agreed to form themselves into a club, under the presidency of G. K. Chesterton, whom Sayers admired. She was one of the club's most enthusiastic members; she devised its elaborate initiation ritual in which new members swore to write without relying on "Divine Revelation, Feminine Intuition, Mumbo Jumbo, Jiggery Pokery, Coincidence or the Act of God" and "to observe a seemly moderation in the use of Gangs, Conspiracies, Death-Rays, Ghosts, Hypnotism, Trap-Doors, Chinamen, Super-Criminals and Lunatics, and utterly and forever to forswear Mysterious Poisons unknown to Science". The club charged no subscription fees, and to raise money for the acquisition of premises members contributed to collaborative works for broadcast or print. The first, organised by Sayers, was Behind the Screen (1930) in which six club members took it in turn to read their own fifteen-minute episodes of a crime mystery on BBC radio.

Sayers published two novels in 1930. Prompted by a suggestion from a fellow author, Robert Eustace, she worked on The Documents in the Case. Eustace, a medical practitioner, provided the main plot device and scientific details; Sayers turned them into prose, hoping to write a notable novel in the manner of Wilkie Collins, whom she admired. She was working on a biography of Collins and adopted his first person narrative technique in a story mostly told in exchanges of letters between the characters. Peter Wimsey does not appear in the book: Brabazon writes that Sayers "tasted the joys of freedom from Wimsey". Reviews were favourable without being laudatory. In The Graphic, Evelyn Waugh contrasted Sayers and Christie:

Sayers was disappointed with the book, and reproached herself for failing to do better with the material provided by her co-author. Her second book of the year was Strong Poison, in which she introduced the character Harriet Vane, whom Wimsey proves innocent of a murder charge. Sayers originally intended that at the end of the book Wimsey would marry Harriet and retire from detection, but financial necessity led the author to postpone their union for another five novels while Wimsey provided his creator with a good income. Brabazon describes Harriet as Sayers's alter ego, sharing many attributes—favourable and otherwise—with the author. Harriet is described by Wimsey's mother as "so interesting and a really remarkable face, though perhaps not strictly good-looking, and all the more interesting for that". Sayers had never been conventionally beautiful, and after attending one of her lectures in the 1930s Mary Ellen Chase wrote of her, "There can be few plainer women on earth than Dorothy Sayers [but] I have never come across one so magnetic to listen to".

In 1931 Sayers collaborated with Detection Club colleagues on a longer serial for the BBC, The Scoop, and on a book, The Floating Admiral. She edited a second collection of Great Short Stories of Detection, Mystery and Horror, and as a solo effort wrote The Five Red Herrings, published in the US as Suspicious Characters. Harriet Vane does not appear in that novel, but is the central character in the next Wimsey book, Have His Carcase, published in 1932. Wimsey solves the murder but is no more successful in winning Harriet's love than he had been in Strong Poison. Have His Carcase was well received. The Scotsman called it a book to keep the most jaded reviewer out of bed until the small hours; The Times said that the final twist "is really startling and ingenious, and though the reader is given a perfectly fair chance of guessing it none but the most ingenious can hope to do so"; and the reviewer in The Liverpool Echo called Sayers "the greatest of all detective story writers", though worrying that her plots were so clever that some readers might struggle to keep up with them.

Over the following two years Sayers published two Wimsey novels (neither featuring Harriet Vane)—Murder Must Advertise (1933) and The Nine Tailors (1934)—and a collection of short stories, Hangman's Holiday, featuring not only the patrician Wimsey but also a proletarian salesman and solver of mysteries, Montague Egg. She edited a third and final volume of Great Stories of Detection, Mystery and Horror and began reviewing crime novels for The Sunday Times. Her reviews covered works by most of her important contemporaries, including her fellow "Queens of Crime" of the Golden Age of Detective Fiction—Christie and Margery Allingham. Kenney comments that much of Sayers's thinking on the mystery novel and literature generally can be gleaned from her reviews, which reveal much about her attitude to art.

Sayers did not enjoy writing Murder Must Advertise and thought it an artistic failure:

Kenney describes the book as "flawed but brilliant", and ranks it below the final three Wimsey novels—The Nine Tailors, Gaudy Night and Busman's Honeymoon—in terms of its literary status in relation to more manifestly serious fiction of Sayers's day.

Like Murder Must Advertise, The Nine Tailors draws on the author's personal experiences. As her portrait of the Rev Theodore Venables "tenderly evoked" her father, "unworldly, self-effacing [and] lovable", as Reynolds puts it. The rectory in which Wimsey and his manservant, Bunter, are offered refuge after a car crash, resembles that in which Sayers grew up. The book gained enthusiastic notices. In The News Chronicle, Charles Williams wrote that it was "not merely admirable; it is adorable. ... It is a great book". The Daily Herald said, "This is unquestionably Miss Sayers' best—until the next one".

Last novels and early religious works, 1935–1939

In 1935 Sayers published what she intended to be the last Wimsey novel, Gaudy Night, set in Harriet Vane's old Oxford college. There is attempted murder but Wimsey identifies the culprit in time to prevent further harm. At the end of the book Wimsey proposes to Harriet (in Latin) and is accepted (also in Latin). In Oxford in May, and in London in June, Sayers delivered a lecture entitled "Aristotle on Detective Fiction", humorously contending that in his Poetics, Aristotle shows that what he most wished for was a good detective story. The same year Sayers worked on a script for a film to be called The Silent Passenger. Although she was promised editorial control, it was not forthcoming and the script was altered; according to her biographer David Coombes, the Wimsey character "looked like a member of the Mafia".

Sayers was growing tired of the solitary vocation of a novelist, and was glad to collaborate with her old university friend Byrne on a new Wimsey story written for the theatre. Busman's Honeymoon, "a detective comedy in three acts", had a short provincial tour before opening in the West End. Sayers, who kept in close contact with her son, sent him an account of the demanding rehearsals for the opening, a milieu new to her. The London premiere was at the Comedy Theatre in December 1936. Dennis Arundell and Veronica Turleigh played Wimsey and Harriet. It ran for more than a year, and while it was still running, Sayers rewrote it as a novel, published in 1937, the last of her full-length books featuring Wimsey.

While the play was in rehearsal the organisers of the Canterbury Festival invited Sayers to write a drama for performance in Canterbury Cathedral, following the staging there of T. S. Eliot's Murder in the Cathedral, and other plays.  The result, The Zeal of Thy House, was her dramatisation in blank verse of the life and work of William of Sens, one of the architects of the cathedral. It opened in June 1937, was well reviewed, and made a profit for the festival.

The following year Sayers returned to a religious theme with He That Should Come, a radio Nativity play, broadcast by the BBC on Christmas Day, and in 1939 the Canterbury Festival staged another of her plays, The Devil to Pay. In the same year she published a collection of short stories, In the Teeth of the Evidence—featuring Wimsey, Egg and others—and began a series of articles for The Spectator called The Wimsey Papers, using Wimsey and his family and friends to convey Sayers's thoughts on life and politics in the early weeks of the Second World War.

Dante and The Man Born to Be King, 1940s
For the theatre Sayers wrote a comedy, Love All, a wry take on the eternal triangle. It opened in a London fringe theatre in April 1940. Notices were friendly—The Times said that Sayers poked some agreeable fun at a number of conventions, sentimental, literary, and theatrical and The Stage called the play "very amusing and provocative"—but at that stage of the war there was no demand for another light comedy in the West End, and there was no transfer.

The task that preoccupied Sayers from the 1940s to the end of her life was her translation of Dante Alighieri's Divine Comedy. She said she began it after reading the original Italian version in an air-raid shelter during bombing raids. She saw parallels between the writing and the state of the world during the war.

She thought Dante was "simply the most incomparable story-teller who ever set pen to paper", and in addition to the parallels of the world during war, she also saw similarities in his outlook on the lack of faith, declining morality, dishonesty, exploitation, disharmony and other problems. Once she began to read, she found herself unable to stop:

As well as her work on Dante, Sayers continued to write drama. At the BBC's request she created a cycle of twelve radio plays portraying the life of Christ, The Man Born to be King (1941–42), which, Kenney observes, were broadcast to "a huge audience of Britons during the darkest days of the Second World War". Sayers insisted from the outset on realism, modern speech and a portrayal of Jesus. He had appeared as a character in numerous Passion plays in earlier centuries, but this was the first time an actor had played the part on radio; the press referred to "a radio Oberammergau". Some conservative Christians expressed outrage. The Lord's Day Observance Society called it a "revolting imitation of the voice of our Divine Saviour and Redeemer" and declared, "to impersonate the Divine Son of God in this way is an act of irreverence bordering on the blasphemous". The actor Robert Speaight, who played Jesus, said the plays were successful because "we did not approach the parts in a reverential frame of mind. We approached them exactly as if it was any other kind of play". As the series progressed, the controversy died down. The BBC's religious advisory committee, representing all the major Christian denominations, was united in support of the cycle, which came to be regarded as one of Sayers's greatest achievements.

Sayers's other main work from the wartime years was her extended essay The Mind of the Maker, arguing that human creativity is the attribute that gives mankind its best chance of understanding, however imperfectly, the nature of God's mind. Between 1944 and 1949 she published two volumes of essays and a collection of stories for children, and wrote another religious play, The Just Vengeance, commissioned for the 750th anniversary celebrations of Lichfield Cathedral, which, she later said, pleased theologians more than it pleased the actors.

In 1949 Penguin Books published The Divine Comedy, Cantica I, Hell in Sayers's translation. Notices were excellent. One reviewer wrote, "Her translation ... is not only scholarly but is being hailed as the best English translation of that poem". In The Observer, Sir Ronald Storrs praised the "illuminating" translation and Sayers's "compendious notes", and said that future readers would be "profoundly in her debt". The Chicago Tribune criticised some of the archaisms in Sayers's version, but concluded "but all in all it looks to me like the translation to read ... you can't read very far into it and still think Dante is dull".

Last years, 1950–1957

In 1950 Sayers was awarded an honorary Doctorate of Letters by the University of Durham. After years of declining health her husband died at their home in Witham. The following year, for the Festival of Britain, she wrote her last play, The Emperor Constantine, described by The Stage as "long, rambling, episodic, and wholly absorbing".

Sayers made a last foray into crime fiction in 1953 with No Flowers By Request, another collaborative serial, published in The Daily Sketch, co-written with E. C. R. Lorac, Anthony Gilbert, Gladys Mitchell and Christianna Brand. The following year she published Introductory Papers on Dante, and in 1955 Penguin Books published Purgatory, the second volume of her translation of The Divine Comedy. Like its predecessor, it enjoyed substantial sales. The last books by Sayers were The Song of Roland, translated from the French, and a second volume of papers on Dante (both 1957).

On 17 December 1957 Sayers died suddenly at her home in Witham, aged 64; she was cremated six days later at Golders Green Crematorium. Her translation of the third and final volume of The Divine Comedy, two-thirds complete, was finished by Reynolds.

Works

Detective stories
According to the literary critic Bernard Benstock, Sayers's reputation as a novelist is based on her works featuring Peter Wimsey, the aristocratic amateur detective who appears in eleven of her twelve novels and four collections of short stories. Benstock considers the novels to be "of consistently high literary quality" displaying "witty repartee and erudite epigrams", while Bruce Merry, an analyst of detective fiction, thinks them "intellectually ... resourceful and highly refined", even though they have not aged well.

The crime writer Julian Symons observes that the growth of the Golden Age writing in Britain during the inter-war years came "not by adherence to the rules but through a measure of revolt against them" by Sayers, Anthony Berkeley and Agatha Christie. For Sayers, her revolt lay partly in character development and the introduction of a love interest for Wimsey, allowing emotions to become apparent in the story: Wimsey falls in love with Harriet Vane in Strong Poison, romances her in Gaudy Night and marries her in Busman's Honeymoon. The last of these was sub-titled "A love story with detective interruptions", and was described in The Times Literary Supplement as "a love story and a detective story, and so much more besides".

The revolt against the rules was shown in the development of the Wimsey character. Several critics have considered that on Wimsey's first appearance—in Whose Body?—he is not a fully rounded character. By the final Wimsey novel—Busman's Honeymoon—he has undergone a change to become a sensitive scholar, feeling guilt over condemning a murderer ("a poor devil who hasn't got a bean in the world and hasn't done us any harm") to hanging, while he struggles with the shell shock he suffered from the war. The change is one that the writer P. D. James describes as "less a development than a metamorphosis". Sayers's portrayal of Wimsey's mental crises as a result of shell shock and aspects of the war run throughout the Wimsey series.

Sayers's use of a monied aristocrat has been criticised. In 1963, in an article in The Listener, the cultural critic Martin Green described Sayers as "one of the world's masters of the pornography of class-distinction", while he outlined Wimsey's treatment of his social inferiors. The writer Colin Watson in his study of interwar thrillers, Snobbery with Violence, also saw in Wimsey the habit of mocking those from different social classes; for Sayers's descriptions of the wealthy and titled, he described her a "sycophantic bluestocking". Eric Sandberg, in his examination of the Wimsey novels, dissents from this view, and considers "it would not be accurate to describe Sayers's depiction of the aristocracy as adulatory or sycophantic" as, with the exception of Wimsey and his mother, other members of the upper classes are written as being dim or archaic. Peter Latham, in his examination of snobbery in modern novels Am I a Snob?, also sees Sayers's treatment of the upper classes as satire. He considers that she "revels in the comedy of snobbery and the absurdity of pretension, making even her detective a ridiculously affected stereotype".

A 2021 study by Laura Mayall draws parallels between Wimsey and his valet Bunter and the P. G. Wodehouse characters Bertie Wooster and Jeeves, particularly around the choice of clothing—determined by the valet, rather than his employer; Mayall concludes there is parody in such interactions, showing Sayers mocking stereotypes, rather than portraying reality. The literature academic Valerie Pitt highlights an interchange between Bunter and Wimsey from The Unpleasantness at the Bellona Club which she considers parody: "Bunter produced an innocent looking monocle which was, in reality, a powerful magnifier. 'And the finger-print powder is in your lordship's right-hand coat pocket'". Pitt sees comparisons between the Wimsey novels and the Sherlock Holmes novels of Arthur Conan Doyle, together with the influence of Wodehouse on the  character. Bunter she sees as fulfilling the role of both Jeeves and Dr Watson, while there are also parallels between the roles of Sayers's Chief Inspector Charles Parker and Conan Doyle's Inspector Lestrade, just as there is with Wimsey's unofficial assistance from Miss Climpson and Holmes's Baker Street Irregulars. Physically there is a resemblance between Wimsey and Wooster; one of the characters in Murder Must Advertise describes him as "Tow-coloured, supercilious-looking blighter. ... Cross between Ralph Lynn and Bertie Wooster."

Christian writing
Sayers wrote on religious themes from early in her life. Her second volume of verse, Catholic Tales and Christian Songs (1918), included a short satirical verse play, "The Mocking of Christ", but it was not until the late 1930s that she turned away from detective fiction to concentrate on religious subjects. Within about a decade her reputation was based as much on her writing as a "lay Christian apologist" as on her novels.

The Zeal of Thy House, the play she wrote for the Canterbury Festival in 1937, went on tour nationally, played a limited West End season, and was well reviewed. A London critic wrote, "Not only is this play sincere and impressive ... it is good entertainment ... an essentially serious treatment of theological questions ... which with rare skill Miss Sayers has made at the same time dramatic". According to the literary academic Crystal Downing, the staging of The Zeal of Thy House "radically changed Sayers's life". The success of the play led the festival to commission another, produced two years later. This was a version of the Faust legend, called The Devil to Pay. Between these two stage works Sayers wrote a Nativity play for the BBC and two articles on theology for The Sunday Times.

From 1940 Sayers published volumes containing studies, lectures, and essays on theological topics. According to the historian Lucy Wooding the plays and the books combine a high degree of professional competence with "fresh and penetrating insights into the meaning of the Christian faith in the modern world". Wooding writes that Sayers was loosely associated with several other representatives of "what might be called lay orthodoxy", including C. S. Lewis, Charles Williams, and T. S. Eliot, writing before and after the Second World War.

Sayers insisted in an article titled "Playwrights are Not Evangelists" that her purpose was not to proselytise. Her view of theological aesthetics was that a work of art will speak to its audience only if the artist serves the work rather than trying to preach. She said that her motive in writing The Man Born to Be King was not "to do good", but to tell the story to the best of her ability ... "in short, to make as good a work of art as I could".

In a 2017 study for the Ecclesiastical History Society, Margaret Wiedemann Hunt writes that The Man Born to Be King was "an astonishing and far-reaching innovation", not only because it used colloquial speech and because Jesus was portrayed by an actor (something not then permitted in theatres in Britain), but also because "it brought the gospels into people's lives in a way that demanded an imaginative response". In preparation for writing the cycle, Sayers made her own translations of the Gospels from the original Greek into modern English; she hoped to persuade listeners that the 17th-century King James version was over-familiar to churchgoers and incomprehensible to everyone else. In a 1984 study of religious broadcasting in Britain, Kenneth Wolfe writes of The Man Born to Be King, "That it was the most astonishing and far-reaching innovation in all religious broadcasting so far is beyond dispute".

Dante

Sayers's 1949 translation of Dante's Hell was a best-seller: its first print run of 50,000 quickly sold out. Cantica 2 of the Divine Comedy, Purgatory, was published in 1955, but when Sayers died her version of the final Cantica, Heaven, was only two-thirds complete. Reynolds finished the translation and it was published in 1962. The three volumes of the Sayers translation sold 1.25 million copies by 1999. Writing in 1989 Reynolds noted that because of Sayers's translations, Dante has been read by "more English-speaking readers in the last forty years than he had in the preceding six and a quarter centuries".

For her translation Sayers chose to use modern colloquial English, and as she described, "to eschew 'Marry, quotha!' without declining upon 'Sez you!'". Where she differed from this was in Purgatory, where Dante used the dialect of Provence for the words of the southern French poet Arnaut Daniel: Sayers instead used a Southern Scots dialect and explained it was "a dialect which bears something of the same relation to English as Provençal does to Italian". Sayers's biographer Mary Brian Durkin observes that "many find her translation of the passage jarring and distracting", while Durkin thinks it "forced ... almost doggerel".

Sayers retained Dante's  structure—three-line stanzas linked by their rhyme scheme—a difficult form to use in English translations, given the fewer rhyme endings when compared with Italian. The theological academic Mary Prentice Barrows considers that when the form is used in English translations of Dante, including those by Sayers, "the necessity of fitting the exact sense into triple rhymes inevitably forces distorted syntax and strange choices of words, so that the limpidity—the characteristic beauty of the original—is lost". Thomas G. Bergin, a scholar of Italian literature who had also translated The Divine Comedy, thought that Sayers's translation has "the directness of Dante in tone, and the very technique of Dante in execution. And indeed the merits of Miss Sayers' version are great." Although, he noted, the limitations of the form meant some of Sayers's rhymes were forced. The critic Dudley Fitts criticised Sayers's use of terza rima in English, and her use of some archaisms for the sake of rhyme which "are so nearly pervasive that they reduce the impact of a work generously conceived and lovingly elaborated". In the introduction to Purgatory, Sayers advised readers to

Reynolds considers Sayers was well placed to deal with Dante's rhymed couplets. She had been interested in translating poetry from her schooldays and had enjoyed writing her own early verses. Her first works of poetry, according to Reynolds, contain "a masterly and beautiful example of a lay, a series of poems linked to a complex structure". Fitts considers her "not ... an accomplished poet; but she does handle verse intelligently". With each of the Dante translations, Sayers included detailed introductions to explain her word choices and to provide alternative translations. Notes were included on each canto to explain the allegories and symbology; the writer Anne Perry considers these "acutely satisfying and thought provoking and infinitely enriching the work". Sayers also provided an outline on Dante's life and personality, "without which", in Perry's view, "the whole work would be robbed of much of its meaning".

Views

Racism
Sayers's novels have been criticised for racism, particularly antisemitism. Philip L. Scowcroft, in a study of her approach to race, cites examples from Unnatural Death such as "'God bless my soul', said Sir Charles horrified, 'an English girl in the hands of a nigger. How abominable"; "Nigger taste runs rather to boots and hair oil"; and "The second man ... seemed to wear the long-toed boots affected by Jew boys of the louder sort." Scowcroft also highlights the stereotypical descriptions physical of Jewish characters in Whose Body?, and the description of Jewish lifestyle by Wimsey's mother:

The writer Nancy-Lou Patterson observes that while Sayers reflected the prejudices of her time, the casual manner in which the racism is used is unpleasant, although, she notes, in none of her novels does Sayers make the villain or murderer Jewish. Brabazon, reflecting on the criticism against her generally, wrote:

Scowcroft concludes his examination by saying that although Sayers showed some elements of contemporary attitudes, "the much stronger evidence of her Jewish and foreign characters as they unfold in her books suggest that in the matter of 'racial prejudice', ... [that] she and Lord Peter were more enlightened than the average." When Sayers was asked by her publisher if the French translation could tone down some of the references to Jewish characteristics and attributes, she replied "Certainly they can soften the thrusts against the Jews if they like and if there are any. My own opinion is that the only people who were presented in a favourable light were the Jews!"

Feminism
B. J. Rahn, an academic who specialises in detective fiction, believes Sayers was the first writer to use a whodunit to include feminist topics in her work. This includes the character of Harriet Vane, who is portrayed as a strong, independent woman. She has her own career, is strong enough to have a co-habiting relationship in an age when it was socially unacceptable and was nearly an equal to Wimsey as a detective. Vane takes a leading part in Sayers's penultimate novel, Gaudy Night, which is a whodunit without a murder. Anna Bogen, in her examination of the novel as a work of middlebrow fiction, views the work "positively in terms of both literary quality and feminist politics", calling it "a pioneering defense of women's education". The literary critic Melissa Schaub sees Vane as "a feminist model for everyday readers" Sandberg considers the introduction of Vane as "a watershed moment in Sayers's career as a detective writer" as it signalled the change towards her new literary form of detective novel. He sees Vane as "a literary self-portrait of Sayers", being financially independent, a career woman and one who eschewed the patriarchal expectations of inter-war Britain. In cohabiting with a lover and rejecting a marriage proposal from him and then initially rejecting marriage to Wimsey before accepting him, there is a display of Sayers's view of the basis of marriage: one that is "equal, intellectual, passionate, amusing, challenging", according to Sayers's biographer, Catherine Kenny.

The literary critic Laurel Young considers that Sayers was a feminist, as not only did she have strong female characters within her works, but also led an independent and seemingly non-conformist life. Sayers did not consider herself as such, and in a 1938 address, she said:

Biographies and other books about Sayers

Sayers published no autobiographical work, and told her literary executor, Muriel St Clare Byrne, that she wanted no biography of her to be written until fifty years after her death. This wish was not legally enforceable, and several biographies and literary studies of Sayers were published in the 1970s, including Dorothy L. Sayers: A Bio-Bibliography by Leslie H. Romer (1975), Such A Strange Lady: An Introduction to Dorothy L. Sayers by Janet Hitchman (1975), Maker and Craftsman: The Story of Dorothy L. Sayers by Alzina Dale (1978),  and Dorothy L. Sayers: A Literary Biography by Ralph E. Hone (1979). Such books were written without access to Sayers's personal papers, which included a large archive of correspondence, an unpublished memoir of her early years and an unfinished autobiographical novel. Byrne and Anthony Fleming, Sayers's son, concluded around 1980 that the accounts thus far published were "incomplete or inaccurate or both" and that, despite Sayers's wish for a fifty-year moratorium, an authoritative biography should be written "which incorporated the available facts, before those who knew her had died and the records had been scattered".

At the request of Byrne and Fleming, the author James Brabazon, a friend of Sayers, wrote an authorised biography, aiming to give a full and accurate account of Sayers's life. It was published as Dorothy L. Sayers: The Life of a Courageous Woman in 1981, with a preface by Fleming and a foreword by P. D. James. Among later full-length biographies is  Dorothy L. Sayers: Her Life And Soul by Barbara Reynolds, the then chairman of the Dorothy L. Sayers Society, published in 1993, marking the centenary of the subject's birth. Like Brabazon, Reynolds had been a friend of Sayers; the literary critic of The Times commented that her book "delivers a far warmer and more humane Sayers than previous biographers ... Where Ralph Hone and James Brabazon attempted to dig Sayers out of the social psychology of late Victorian England ... Reynolds allows her to speak in her own voice". In 2020 Colin Duriez published a further biography of Sayers, interspersing the factual material with imagined dramatised scenes and conversations.

Some studies of Sayers's works include biographical sections; among them are Dorothy L. Sayers by Mary Brian Durkin (1980), Dorothy L. Sayers, A Pilgrim Soul by Nancy Tischler (1980), and The Remarkable Case of Dorothy L. Sayers by Catherine Kenney (1990). Kenney is also the author of the article on Sayers in the ODNB, which replaced an earlier one by J. I. M. Stewart. Various aspects of Sayers's relationships and career have been examined in Dorothy and Jack: The Transforming Friendship of Dorothy L. Sayers and C. S. Lewis by Gina Dalfonzo and Subversive: Christ, Culture and the Shocking Dorothy L. Sayers by Crystal Downing (both 2020).

Under the aegis of the Dorothy L. Sayers Society, Reynolds collected and edited Sayers's letters, written between 1889 and 1957 and published in five volumes between 1995 and 2002. The final volume includes the texts of Sayers's autobiographical fragment and unfinished autobiographical novel first used by Brabazon in his 1982 biography.

Legacy

From the outset, Sayers aimed to develop the detective novel from the pure puzzle into a less artificial style, comparable with non-crime fiction of the period. A later writer of crime novels, P. D. James, writes that Sayers "did as much as any writer in the genre to develop the detective story from an ingenious but lifeless puzzle into an intellectually respectable branch of fiction with serious claims to be judged as a novel". As a reviewer Sayers wrote of one book by a now neglected writer, A. E. Fielding, "The plot is extremely intricate and full of red herrings, and the solution is kept a dark secret up to the last moment. The weakness ... is that the people never really come alive." She admired Agatha Christie, but in her own works Sayers moved away to some extent from the traditional whodunit towards what has been dubbed the "howdunit": "There is still an idea going about that the 'Who?' book is the only legitimate variety of the species. Yet, if we demand any sort of likeness to real life, the 'How?' book is much nearer to the facts". James notes that Sayers nonetheless wrote within the "Golden Age" conventions, with a central mystery, a closed circle of suspects and a solution that the reader can work out by logical deduction from clues "planted with deceptive cunning but essential fairness ... Those were not the days of the swift bash to the skull followed by 60,000 words of psychological insight".

Some of Sayers's stories have been filmed for the cinema and television. Robert Montgomery and Constance Cummings played Wimsey and Harriet Vane in a 1940 film adaptation of Busman's Honeymoon, and for BBC television Ian Carmichael played Wimsey in serial adaptations of six of the novels (none of them featuring Vane), broadcast between 1972 and 1975. Edward Petherbridge played Wimsey and Harriet Walter played Vane in television versions of Strong Poison, Have His Carcase and Gaudy Night in 1987. On BBC radio, in numerous adaptations of Sayers's detective stories, Wimsey has been played by more than a dozen actors, including Rex Harrison, Hugh Burden, Alan Wheatley, Ian Carmichael and Gary Bond. New productions of The Man Born to Be King were broadcast in every decade from the 1940s to the 1970s, and the cycle was repeated in the first and second decades of the 21st century.

In 1998, at the invitation of Sayers's estate, Jill Paton Walsh published a completion of an unfinished Wimsey novel,  Thrones, Dominations, which Sayers began in 1936 but abandoned after six chapters. It was well received—The Times found it "miraculously right" with "a thrilling denouement"—and Paton Walsh wrote three more Wimsey novels. A Presumption of Death (2002) incorporated extracts from The Wimsey Papers published by Sayers in 1939 and 1940. The Attenbury Emeralds (2010) was based on Wimsey's first case, referred to in a number of Sayers's novels; in The Times, Marcel Berlins said that Sayers would not have recognised that the book was not her own work. In The Late Scholar (2013), Peter and Harriet, now Duke and Duchess of Denver, return to Shrewsbury College, Oxford, Harriet's alma mater.

In 1973 the minor planet 3627 Sayers was named after her. The asteroid was discovered by Luboš Kohoutek, but the name was suggested by the astronomer Brian G. Marsden, with whom Sayers consulted extensively during the last year of her life, in her attempt to rehabilitate the Roman poet Lucan. Sayers has a feast day on 17 December in the American Episcopal Church liturgical calendar, given because of her work as a Christian apologist and spiritual writer. In 2000 English Heritage installed a blue plaque at 24 Great James Street, Bloomsbury, where Sayers lived between 1921 and 1929. The Dorothy L. Sayers Society was founded in 1976 and, as at 2023, continues in its mission "to promote the study of the life, works and thoughts of this great scholar and writer, to encourage the performance of her plays and the publication of books by and about her, to preserve original material for posterity and to provide assistance for researchers".

Notes, references and sources

Notes

References

Sources

Books

Journals

External links

 Online editions

 General
 The Dorothy L. Sayers Society

 Archives
 Dorothy Sayers archives at the Marion E. Wade Center at Wheaton College
 Dorothy L. Sayers letters and poems at the Mortimer Rare Book Collection, Smith College Special Collections

1893 births
1957 deaths
People educated at Christ Church Cathedral School
First women admitted to degrees at Oxford
Alumni of Somerville College, Oxford
Anglican writers
British feminists
Critics of work and the work ethic
Critics of atheism
Christian apologists
Christian humanists
Christian novelists
Churchwardens
British copywriters
English Anglicans
English crime fiction writers
English mystery writers
English women dramatists and playwrights
French–English translators
Italian–English translators
Lay theologians
Members of the Detection Club
Writers from Oxford
Sherlock Holmes scholars
English dramatists and playwrights
People educated at Godolphin School
Translators of Dante Alighieri
Women mystery writers
20th-century English novelists
20th-century English women writers
English women novelists
Women religious writers
20th-century translators
People from Bluntisham
Writers from Essex
Burials at St Anne's Church, Soho
Deaths from coronary thrombosis
Anglican saints

Dorothy L. Sayers