- ^ Skenazy, 1989 p. 65-66: “There is no killing, no crime, and no conflicts with the law in the story…”
- ^ Skenazy, 1989 p. 67-68
- ^ Skenazy, 1989 p. 2
- ^ Skenazy, 1989 p. 66-67
- ^ Hoopes, 1982 p. 305-306, p. 445
- ^ Madden, 1970 p. 72-73
- ^ Hoopes, 1982 p. 37-38: MP among the four novels that Cain applied his personal training as an opera singer.
- ^ Skenazy, 1989 p. 66-67: Minor editing of quote for clarity.
- ^ Hoopes, 1982 p. 270 p. 282, p. 323, p. 336-337: On the nature of Cain’s intimate relationship with Cummings. P, 340: End of Cummings/Cain relationship, p. 386: Influence of Cain’s drinking.
- ^ Als, 2011
- ^ Hoopes, 1982 p. 305-306 And: p. 309: “...first serious novel…”
- ^ Bryne, 2011
- ^ Hoopes, 1982 p. 307
- ^ Hoopes, 1982 p. 307
- ^ Madden, 1970 p. 133-134
- ^ Skenazy, 1989 p. 67: Letter to Blanche Knopf.
- ^ Hoopes, 1982 p. 310
- ^ Hoopes, 1982 p. 313-314: See here for numerous comments by contemporary critics.
- ^ Hoopes, 1982 p. 315, p. 349: “reprint” numbers.
- ^ Skenazy, 1989 p. 67
- ^ Madden, 1970 p. 73, p.88: “With the help of sex, housewife Mildred invades the male world and proves audacious in business…”
- ^ Skenazy, 1989 p. 21: “...Mildred Pierce offers a broader social landscape and a more penetrating insight into obsession…” And: p. 68: “...bitter, incisive” quote is from Stanley Edgar Hyman.
- ^ Skenazy, 1989 p. 69:
- ^ Madden, 1970 p. 133: “...woman’s perspective…” p. 130: “...the long time-span [of the depression era] give the novel as epic dimension.”
- ^ Skenazy, 1989 p. 66-67</ref Mildred’s overweening “mothering instinct” directed toward her eldest daughter Veda, almost of a sexual nature, contrasts with her ambivalence towards her husband Monty and men in general. Veda, emulating Mildred, seeks to displace her mother as the dominant female in the relationship, eventually seducing her stepfather. Mildred lives vicariously through her daughter's success as a coloratura opera soprano, despite Veda being “absolutely selfish, deceitful, guileful [and] snobbish.” And p. 65: “...the other face of Cain’s portraits of deception is [a] mothering instinct...most terrifyingly posed in Mildred Pierce’s love for her daughter Veda in Mildred Pierce…” And: p. 66: “...a brilliant and brutal depiction of the underside of domestic affection.” And p. 72-73: See here for nature of the Mildred/Veda relationship.Madden, 1970 p. 74: Veda portrayed as “a through-going bitch…Cain is a masterful creator of bitches”, among them Veda Pierce. See p. 74 for “absolutely selfish…” quote.Hoopes, 1982 p. 373: See here for critical response to Cain’s creation of unsavory characters, “monster-monger.”
- ^ Madden, 1970 p. 74
- ^ Hoopes, 1982 p. 339-340, p. 345
- ^ Hoopes, 1982 p. 348-349
- ^ Skenazy, 1989 p. 13
- ^ Glancy, 1995
- ^ Hoopes, 1982 p.351-352: See here for conflicts on set between Curtiz and Crawford.
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