By Brian W. Shaffer
A better half to the British and Irish Novel 1945–2000 serves as a longer advent and reference advisor to the British and Irish novel among the shut of worldwide battle II and the flip of the millennium.
The spouse embraces the total diversity of this wealthy and heterogeneous topic, masking: particular British and Irish novels and novelists starting from Samuel Beckett to Salman Rushdie; specific subgenres resembling the feminist novel and the postcolonial novel; overarching cultural, political, and literary traits similar to display diversifications and the literary prize phenomenon. the entire essays are knowledgeable by way of present serious and theoretical debates, yet are designed to be obtainable to non-specialists.
The quantity as an entire offers readers a feeling of the power with which the modern novel remains to be mentioned.
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Additional info for A Companion to the British and Irish Novel 1945 - 2000
1) – is itself at least as common as Priestley’s hero-worship. Certainly such cynicism is rife in the works of the England’s 12 Damon Marcel DeCoste prime chronicler of the phoney war, Evelyn Waugh. The wartime ‘‘Prologue’’ to Brideshead Revisited (1945), with its unflattering portrait of the ‘‘common man,’’ Hooper, and its description of wartime social change in terms of civilization being ‘‘over-run by a race of the lowest type’’ (1962: 13), testifies to Waugh’s impatience with the ideal of a People’s War.
Manning, too, can only reach towards a peace she nonetheless characterizes as ‘‘precarious,’’ unlikely to last. ’’ Set in a London – with its bombed-out buildings, its ubiquitous government ministries, its rationing, and ceaseless news from the front – that mirrors the city that weathered the Second World War, Orwell’s Nineteen Eighty-Four (1949) might be seen as the quintessential expression of the British novel’s treatment of that war. Orwell’s Airstrip One, Britain’s incarnation as part of Big Brother’s Oceania, is the most extreme version of that common diagnosis of the home front’s own embodiment of the evils ostensibly resisted in the Second World War.
181–2) – as well as Orwell’s study of rancorous would-be poet, Gordon Comstock, tantalized by visions of ‘‘[t]he whole western world going up in a roar of high explosives’’ (1986: 26), in Keep the Aspidistra Flying. As the decade drew to its close, such prophecy became only bleaker and more urgent. Stevie Smith’s Over the Frontier (1938) presents the often surreal first-person narrative of Pompey Casmilus, who noting that ‘‘our times have been upon the rack of war. And are, and are’’ (1989: 94), metamorphizes from amanuensis into secret soldier in a war that seems already ongoing and that takes her, on clandestine missions, into Germany.