May Sinclair was the pseudonym of Mary Amelia St. Clair (24 August 1863 – 14 November 1946), a popular British writer who wrote about two dozen novels, short stories and poetry. She was an active suffragist and member of the Woman Writers' Suffrage League. She once dressed up as a demure, rebel Jane Austen for a suffrage fundraising event. Sinclair was also a significant critic in the area of modernist poetry and prose, and she is attributed with first using the term 'stream of consciousness' in a literary context, when reviewing the first volumes of Dorothy Richardson's novel sequence Pilgrimage (1915–1967), in The Egoist, April 1918. From 1896 Sinclair wrote professionally to support herself and her mother, who died in 1901. An active feminist, Sinclair treated a number of themes relating to the position of women and marriage. Her works sold well in the United States. Sinclair's suffrage activities were remembered by Sylvia Pankhurst. Photographs (as "Mary Sinclair" show her around the WSPU offices in Kensington. In 1912 the Women Writers' Suffrage League published her ideas on feminism. Here she de-bunked theories put forward by Sir Almroth Wright that the suffragists were powered by their sexual frustration because of the shortage of men. She said that suffrage and the class struggle were similar aspirations and the working woman should not be in competition with the ambitions of the male working class. Her 1913 novel The Combined Maze, the story of a London clerk and the two women he loves, was highly praised by critics, including George Orwell, while Agatha Christie considered it one of the greatest English novels of its time. She wrote early criticism on Imagism and the poet H. D. (1915 in The Egoist); she was on social terms with H. D. (Hilda Doolittle), Richard Aldington and Ezra Pound at the time. She also reviewed in a positive light the poetry of T. S. Eliot (1917 in the Little Review) and the fiction of Dorothy Richardson (1918 in The Egoist). Some aspects of Sinclair's subsequent novels have been traced as influenced by modernist techniques, particularly in the autobiographical Mary Olivier: A Life (1919). She was included in the 1925 Contact Collection of Contemporary Writers. Less