One can appreciate Mansfield’s craft by noting the various ways in which she balances the “class distinctions” with which Laura grapples. The perfectly maintained garden provides escape from the less appealing working-class neighborhood, but it is working people who provide its necessary labor. The family diverts itself with canna lilies, finger sandwiches, party dresses, and cream puffs, but their pleasures are repeatedly interrupted. Laura’s mind entertains the perspective of both classes. Although some writers would present ideas about class distinctions in the form of satire, Mansfield fashions “The Garden Party” to suggest—rather than to state—themes. There is such a fluid movement to the story—and such an upbeat mood—that a reader, like Laura herself, may almost be distracted from serious matters such as poverty and death.

Managing point of view is one of the techniques that Mansfield uses to plant her ironies. The happiness in the opening paragraph turns out to be part of the complacency of the upper class. Note the breathless wording: “Hundreds, yes, literally hundreds [of roses], have come out in a single night.” Such language has no place in the Scott house, where Mrs. Scott’s swollen red face cows Laura. The reader, therefore, learns to doubt some of the statements, and to consider from which character’s perspective they originate. One senses Jose’s practicality when she uses the word “extravagant” to dismiss Laura’s enthusiasm; likewise, one senses Mrs. Scott’s grief in the questions going through her mind as Laura faces her.

The technique known as “stream-of-consciousness” developed in the early twentieth century as a result of the influential psychological theories of such persons as Sigmund Freud and William James. Writers such as Mansfield use it to make words show the workings of the mind, rather than merely summarize a character’s thoughts. In “The Garden Party,” Mansfield mainly presents Laura’s mind at work, but one must be careful to notice shifts to other characters’ minds, as well as to the “mind” at work in passages such as the first paragraph, in which the Sheridan family—or the upper class—outlook appears. Finally, one admires Mansfield’s handling of detail. When Laura says that the marquee belongs on the lily-lawn, one workman “thrust[s] out his under-lip” and another frowns. These actions characterize the men and reveal what Laura notices. They are also part of the comic moment that culminates as a workman suggests a location that would be more “conspicuous”—that is, in keeping with the values of her class.

Katherine Mansfield's "The Garden Party," penned in 1922, reflects the tumultuous era between the two world wars. The 1920s were marked by significant political and social upheaval across Europe. In the newly formed Soviet Union, the Marxist revolution was reaching its conclusion. V. I. Lenin, the influential Soviet leader, had successfully seized power from the Russian aristocracy and was implementing agricultural collectivization in rural areas. Meanwhile, various political factions in Europe were beginning to advocate for fascism—a doctrine endorsing a government with unrestricted authority, often under a dictator. These sweeping changes alarmed many, sparking widespread discussions about the class systems of the time.

The aftermath of World War I and the subsequent political and social disruptions profoundly influenced the arts and literature. Katherine Mansfield, like many in England and beyond, was deeply affected by the war, especially after the loss of her cherished brother. Other writers and artists also grappled with the psychological and cultural repercussions of the conflict. For instance, T. S. Eliot's 1922 poem "The Waste Land" conveys a sense of personal alienation and cultural instability, with the poetic voice lamenting, "These fragments I have shored against my ruins." Eliot's "fragments" symbolize remnants of Western culture and humanist traditions used as defenses against emerging cultural chaos. In nonfiction, German historian Oswald Spengler forecasted the decline of Western humanist values and culture in his seminal work, The Decline of the West. Rather than depicting a decline of the West, "The Garden Party" can be interpreted as illustrating the end of the "garden party" civilization—a symbol of the carefree aristocracy of pre-World War I Europe—through Laura Sheridan's internal conflict between her family's world and that of her working-class neighbors.

Style
Katherine Mansfield's short story "The Garden Party" showcases a modern style, characterized by impressionistic details and a stream-of-consciousness narrative technique. These stylistic elements are also prominent in the works of Virginia Woolf, Dorothy Richardson, and other innovative writers from the 1920s and 1930s.

The narrative starts in media res, or "in the middle of things." The narrative voice describes the scene in an informal and immediate manner, establishing an instant connection with the reader—"And after all the weather was ideal. They could not have had a more perfect day for the garden party if they had ordered it." This almost confidential tone in presenting objective facts positions the narrative voice as the central consciousness of the story. It perceives and interprets experiences, often merging with Laura's character. As readers gain insight into the author's thoughts and interpretations, they are encouraged to identify with both Laura's and the narrator's perspectives. This "central" consciousness gradually draws the reader in, providing constant access to Laura's perceptions and emotional responses. The transition between the third-person narrative voice and Laura's own thoughts often occurs seamlessly within single sentences, without explicit narrative markers. A prime example is before Laura meets the workmen setting up the marquee: "Away Laura flew, still holding her piece of bread and butter. It's so delicious to have an excuse for eating out of doors, and besides she loved having to arrange things," or "His smile was so easy, so friendly, that Laura recovered. What nice eyes he had, small, but such a dark blue!"

This technique of centering on the thoughts of a central consciousness is known as stream of consciousness. Literary critics use this term to describe a method that aims for a more authentic presentation of reality. Mansfield, like other modernists, viewed reality not as something separate from perception but as something shaped by individual perceptions. In "The Garden Party," Laura's perceptions are immediately conveyed to the reader, often overshadowing any external realities. At the beginning of her walk down Saunders Lane, for instance, her mind is filled with "the kisses, voices, tinkling spoons, laughters, and the smell of crushed grass"—memories of the party that initially obscure the actual journey to the carter's cottage.

The chronological narrative of the events surrounding the Sheridan garden party culminates in a pivotal moment for Laura's awareness. Her realizations during this climactic scene are conveyed by the narrator, who almost seems to speak on her behalf, transitioning from a third-person to a first-person perspective. "There lay a young man fast asleep—sleeping so soundly, so deeply, that he was far far away from them both. Oh so remote, so peaceful. . . . What did garden parties and baskets and lace frocks matter to him? He was far from all of those things. He was wonderful, beautiful. While they were laughing and while the band was playing, this marvel had come to the lane."

Symbolism and Imagery
Mansfield's vivid descriptions create a richly textured and evocative world. Colors, shapes, and textures become tools through which the story's scenes gain deeper meaning. The narrative begins with an impressionistic depiction of the interiors and gardens of the Sheridan home. The garden is portrayed as a vibrant space filled with the warmth of roses, yellow karake fruits, and lilies. These elements symbolize the ethereal beauty that defines the Sheridan home. This sense of serene luminosity is perhaps best captured in the following image: "And the perfect afternoon, slowly ripened, slowly faded, slowly its petals closed."

The scene of light and air visibly darkens as Laura leaves the bright garden and heads down the hill towards the workers' cottages. The somber mood and sense of hopelessness among the villagers are illustrated by the encroaching shadows as Laura approaches Saunders Lane. The garden's soft rustling breezes and the comfortable domestic chatter of the Sheridan house give way to silence and an ominous hum as Laura nears the workers' neighborhood—"How quiet it seemed after the afternoon. . . . A low hum came from the mean little cottages. In some of them there was a flicker of light, and a shadow, crablike, moved across the window."

The shadows deepen as Laura approaches the carter's cottage and is led through a "gloomy passage" by a "woman in black." Inside the dimly lit cottage, Laura is confronted with death in the form of the young laborer. The epiphany she experiences as she gazes upon the tranquil beauty of his lifeless face suggests a profound revelation in this final setting.

"The Garden-Party" is part of Mansfield's final collection of stories. Many of these narratives are unified by their plot, which critic Joanne Trautmann Banks describes as "a line that moves softly to an end." This narrative element, which almost vanished from Mansfield's middle-period works, guides the story's direction rather than focusing on any single character's perspective. Unlike Bertha Young in "Bliss" or Raoul Duquette in "Je ne parle pas francais," Laura does not dominate the narrative. Instead, at the beginning of the story, we are introduced to a variety of opinions about the afternoon's events, one of which is Laura's. Even though Laura's perspective becomes more prominent by the story's conclusion, the overall depiction of her visit to the mourning family is as significant as her personal reactions to confronting death.

1920s: As the modernist movement emerged, writers, artists, and musicians grappled with expressing their sense of alienation from Western culture.

1990s: Cultural critics continue to draw inspiration from the perceived disconnect between their values and popular culture. The term "Generation X" has been coined to describe an entire generation believed to feel estranged from society.

1920s: Stalin solidifies his role as dictator of the Soviet Union and begins purging dissenters.

1990s: The Soviet Union has collapsed, leaving behind a debt-laden Russian Republic with fragile but existing democratic institutions.

1920s: Harold Ware introduces mechanized farming to the Soviets, bringing volunteers and $150,000 worth of equipment and seeds to establish a 15,000-acre demonstration farm near Moscow.

1990s: The United States aids Russia in avoiding a food crisis by lending money to purchase American grain. This grain, which would otherwise have been discarded, is being sold at a price above its current market value.

Theocritus's XVth idyll sets a literary precedent for the structure of "The Garden-Party." In this dramatic poem, two young women attend the festival of Adonis. Much of their dialogue consists of sophisticated, yet superficial, remarks about their lives and the bustling streets they navigate on their way to the festival. As T. O. Beachcroft observes, they are "foolish, yet endearing . . . put before us in all their human frailty with loving care." Upon arriving at the festival, the women witness a performance of a mystical poem about Adonis that profoundly moves them. After the performance, they find themselves unable to articulate the experience they have just had.

In "The Garden-Party," the Sheridan family is initially depicted through light and airy conversation as the household prepares for the party. The Sheridans come across as both foolish and endearing in their activities. The narrative shifts in the second part of the story when Laura ventures into the neighbors' lane and confronts the stark realities of grief and death. Laura's comments to her brother upon returning from the deceased worker's cottage seem utterly insufficient for what she has experienced. Nonetheless, due to the essentially dramatic nature of both works, the reader is left with the sense that something significant, perhaps even transcendent, has taken place.

Similar to "Prelude" and "At the Bay," "The Garden-Party" draws inspiration from events that transpired in New Zealand during Mansfield's younger years. In 1907, just a year before Mansfield permanently left New Zealand, her mother hosted a garden party that was overshadowed by a tragic accident in a nearby working-class neighborhood. The Sheridans in this story are essentially the same family as the Burnells featured in the other tales, but at a more advanced stage in their narrative.

"The Garden Party" was transformed into a film in 1974. It is currently accessible on video via AIMS Multimedia.

Sources
Fulbrook, Kate. "Late Fiction," in Katherine Mansfield, Harvester Press, 1986, pp. 86-128.

Hanson, Clare, and Andrew Gurr. "The Stories 1921-22: Sierre and Paris," in their Katherine Mansfield, New York: St. Martin's Press, 1981, pp. 95-139.

Iverson, Anders. "A Reading of Katherine Mansfield's 'The Garden Party,'" in Orbis Litterarum, Vol. 23, 1968, pp. 5-34.

Taylor, Donald S. "Crashing the Garden Party, I: A Dream—A Wakening," in Modern Fiction Studies, Vol. IV, No. 4, Winter, 1958-59, pp. 361-62.

Walker, Warren S. "The Unresolved Conflict in 'The Garden Party,'" in Modern Fiction Studies, Vol. III, No. 4, Winter, 1957-58, pp. 354-58.

Weiss, Daniel A. "Crashing the Garden Party, II: The Garden Party of Proserpina," in Modern Fiction Studies, Vol. IV, No. 4, Winter, 1958-59, pp. 363-64.

Further Reading
Fulbrook, Kate. "Late Fiction," in Katherine Mansfield, Harvester Press, 1986, pp. 86-128. In this feminist analysis, Fulbrook contends that Mansfield critiques female ignorance in "The Garden Party," highlighting the "inadequacy of education" that perpetuates such insensitive social attitudes.

Iverson, Anders. "A Reading of Katherine Mansfield's 'The Garden Party,'" in Orbis Litterarum, Vol. 23, 1968, pp. 5-34. Iverson delves into the symbolic and mythological framework of "The Garden Party," interpreting the story as an allegory.

Taylor, Donald S. "Crashing the Garden Party, I: A Dream—A Wakening," in Modern Fiction Studies, Vol. IV, No. 4, Winter, 1958-59, pp. 361-62. Taylor interprets "The Garden Party" as a narrative about Laura Sheridan’s realization and awakening from the illusory, dream-like world of her family and their garden parties to a reality filled with labor, sorrow, and death.

Weiss, Daniel A. "Crashing the Garden Party, II: The Garden Party of Proserpina," in Modern Fiction Studies, Vol. IV, No. 4, Winter, 1958-59, pp. 363-64. Weiss compares Laura’s experience to archetypal myths of initiation and awakening, particularly aligning her journey to the cottager's houses with Proserpina’s emergence from Pluto’s underworld.