Download A Companion to the British and Irish Novel 1945 - 2000 by Brian W. Shaffer PDF

By Brian W. Shaffer

A spouse to the British and Irish Novel 1945–2000 serves as a longer advent and reference consultant to the British and Irish novel among the shut of worldwide conflict II and the flip of the millennium.

The significant other embraces the whole diversity of this wealthy and heterogeneous topic, masking: particular British and Irish novels and novelists starting from Samuel Beckett to Salman Rushdie; specific subgenres similar to the feminist novel and the postcolonial novel; overarching cultural, political, and literary developments akin to reveal diversifications and the literary prize phenomenon. the entire essays are trained by means of present serious and theoretical debates, yet are designed to be obtainable to non-specialists.

The quantity as a complete supplies readers a feeling of the energy with which the modern novel is still mentioned.

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Harmondsworth: Penguin. Calder, Angus (1969) The People’s War: Britain, 1939–1945. New York: Random House. Donnelly, Mark (1999) Britain in the Second World War. London: Routledge. Faulks, Sebastian (2001) [1998] Charlotte Gray. London: Vintage. Fussell, Paul (1989) Wartime: Understanding and Behavior in the Second World War. New York: Oxford University Press. —— (2000) [1975] The Great War and Modern Memory. Oxford: Oxford University Press. Green, Henry (1965) [1943] Caught. London: Hogarth Press.

8 Damon Marcel DeCoste The All-too-visible War If, however, the Second War has not been treated as its own literary epoch, this may in part be due to the fact that the war, as a literary event, so predates the actual outbreak of hostilities. Certainly, one of the reasons this war’s fiction avoids a narrative of shock and disillusionment is that this sequel war was so long anticipated by British novelists. Variously dubbed by literary historians ‘‘[t]he Literature of Anticipation’’ (Knowles 1990: 2), the literature of the ‘‘prelude’’ (Plain 1996: 35), or the ‘‘Literature of Preparation’’ (Hynes 1979: 341), this literary imagining of an all-too-visible future war is something peculiar to the Second War and central to its depiction as one in which Owenesque pity is inappropriate.

The new generation fell into the latter camp by virtue of its firm rejection of such experimentation. In 1958 Kingsley Amis wrote: The idea about experiment being the life-blood of the English novel is one that dies hard. ‘Experiment’, in this context, boils down pretty regularly to ‘obtruded oddity’, whether in construction – multiple viewpoints and such – or in style; it is not felt that adventurousness in subject matter or attitude or tone really counts. Shift from one scene to the next in mid-sentence, cut down on verbs or definite articles, and you are putting yourself right up in the forefront, at any rate in the eyes of those who were reared on Joyce and Virginia Woolf .

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