Foreword by Eley Williams ‘What a mood. What a mood,’ said Anne. And here is the invitation to Brigid Brophy’s dazzling The Snow Ball, a feminist remodelling of libertine fervour and passion by one of the great prose stylists of the twentieth century. I use the word dazzling advisedly as, in many ways, The Snow Ball centres upon that very concept: the allure of dazzlement, states of enthralment or rapture, and the potent vulnerability of the dazed. ‘In a sense, the first (if not necessarily the prime) func tion of a novelist, of any artist, is to entertain.’ The conti nuation of this line from Brophy’s provocative FiftyWorks of English Literature W e Could Do Without (1967) reveals what might be valued most highly about her own work: ‘If the poem, painting, play or novel does not immediately engage one’s surface interest then it has failed. Whatever else it may or may not be, art is also entertainment. Bad art fails to entertain. Good art does something in addition.’ The Snow Ball certainly passes this test, for while the pomp, swing and swagger of her novel do wholly entertain, they also prompt the reader to consider the effects and affects v