By Brian W. Shaffer
A spouse 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 conflict II and the flip of the millennium.
The significant other embraces the entire 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 tendencies similar to monitor variations and the literary prize phenomenon. all of the essays are educated via present serious and theoretical debates, yet are designed to be available to non-specialists.
The quantity as an entire provides readers a feeling of the energy with which the modern novel is still mentioned.
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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 better half embraces the entire diversity of this wealthy and heterogeneous topic, protecting: particular British and Irish novels and novelists starting from Samuel Beckett to Salman Rushdie; specific subgenres equivalent to the feminist novel and the postcolonial novel; overarching cultural, political, and literary developments corresponding to monitor variations and the literary prize phenomenon.
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Additional info for A Companion to the British and Irish Novel 1945 - 2000
For example, Powell’s Casanova’s Chinese Restaurant (1960) describes a bombed-out pub as a vision out of fairy tales: ‘‘a triumphal arch erected laboriously by dwarfs, or the gateway to some unknown, forbidden domain, the lair of sorcerors’’ (1976a: 1). Such an insistence on the supernatural also marks Bowen’s ‘‘phantasmagoric’’ London, a haunted landscape in which ‘‘the wall between the living and the dead thinned’’ (1976: 91, 92). But along with this sense of the familiar being defamiliarized, one finds in Blitz fiction the assertion that war is simply uncovering what was always there, revealing how the values of ‘‘private’’ life mirror, and enable, the war of ‘‘public’’ history.
268). The war thus entailed a liberation, for women, from homebound roles of wife, mother, and housekeeper, a liberation that involved the novelty of considerable sexual freedom, a development revealed by the tripling of illegitimate birthrates over the course of the war (p. 312). This broader scope of opportunities for women is reflected in British war fiction, in which female characters take an active part in the war and fill a host of untraditional roles in public life. Thus Greene’s Ministry of Fear offers us the portrait of Mrs Wilcox, an air raid warden who dies heroically in the line of duty (1978: 83).
Thus the central character of the earlier novel, Basil Seal, is a man whose wartime conduct ‘‘ran parallel to Nazi diplomacy’’ (1943: 49). Motivated by the desire to ‘‘[do] well out of the war’’ (p. 46), Basil exploits the evacuation of urban children, by threatening billets with the destructive Connollys unless they pay him off, before betraying his friend Ambrose Silk by reporting him as a fascist sympathizer. ’’ Indeed, in Men at Arms, the enemy Waugh’s officers are keenest to engage is one another, as the prime struggle of this novel is no heroic engagement with either social injustice or the Nazi foe, but rather the absurd war waged between Apthorpe and Brigadier Ritchie-Hook over control of the former’s ‘‘thunder box,’’ a chemical toilet.