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 global struggle II and the flip of the millennium.
The spouse 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 similar to the feminist novel and the postcolonial novel; overarching cultural, political, and literary tendencies akin to reveal variations and the literary prize phenomenon. the entire essays are trained by way 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 remains to be mentioned.
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Extra resources for A Companion to the British and Irish Novel 1945 - 2000
Instead, he maintains a market stall in a provincial town, from which he vents his anger against the bomb, the government, Sunday newspapers, education, love, marriage, T. S. Eliot, the Church, his mother-in-law, even his wife. Typical of Osborne’s invective is Jimmy’s oft-quoted tirade which begins: ‘‘There aren’t any good, brave causes left’’ (Maschler 1958: 51). The ‘‘Angry’’ myth gathered momentum when the theater’s press officer, George Fearon, told a journalist that Osborne was a ‘‘very angry young man’’ (Jacobs 1995: 167).
Indeed, 1941 saw the conscription of young British women, something Calder calls a first in ‘‘civilized’’ nations (1969: 267). Women took up war-related posts in munitions factories, in adjuncts to the armed forces, in government ministries, even at anti-aircraft batteries (p. 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.
These novels thus literalize that sense of the enemy within which animates not only such other wartime fiction as Green’s, but both the literature of anticipation and postwar renderings of the period, as well. For, guided by this intuition of corruption on the home front, later novels make treachery a mainstay of British fiction’s Second World War. Thus, in Waugh’s Officers and Gentlemen (1955), the gravest threats come from figures such as Ivor Claire, who betrays Britain in Crete by deserting his command in the face of the enemy, or Ludovic, who murders Major Hound to save himself.
A Companion to the British and Irish Novel 1945 - 2000 by Brian W. Shaffer