Titlebook: British Fiction After Modernism; The Novel at Mid-Cen Marina MacKay (Assistant Professor of English),Lyn Book 2007 Palgrave Macmillan, a di

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Marfan Hilfe (Deutschland) e.V.ia.’. To Compton-Burnett, as Neville and June Braybrooke say in their 2004 biography of Olivia Manning, ‘Abroad was abroad’ (., 145) so she hadn’t noticed that the setting of ., the first volume in what was to become the Balkan Trilogy, is in fact Romania. Still, she had a point. Journeys, voluntary

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Introduction: British Fiction After Modernism, the West, in Cyril Connolly’s frequently quoted phrase, closed in the 1940s: ‘ “Nothing dreadful is ever done with, no bad thing gets better; you can’t be too serious”.’. By 1947 writers had little left to push against, let alone experiment with. ‘You don’t think’, Elizabeth Bowen wondered in an ex

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Rendering Justice to the Visible World: History, Politics and National Identity in the Novels of Gr immediately followed it. The brutal reality of mechanized slaughter didn’t just shatter human bodies but also destroyed long-held illusions about the nature of pre-war society, with far-reaching consequences for the arts.. Reflecting on the erosion of the storytelling tradition by twentiethcentury

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The Case for Storm Jameson,tieth century. Jameson, a Yorkshire woman, was born in 1891 and was the first woman to read English at the University of Leeds. Her writing career began during the First World War, and by the time she died in 1986 she had written over forty novels. Her reputation was very high in her lifetime, as a

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,The Nooks and Crannies of her Being: Howard Spring’s , and Northern Camp, the same red brick as the original mills and the viaducts, over which trains still rumble into Deansgate and into the heart of the city. We were just yards away from Coronation Street. On the Ordnance Survey map the fictitious street is even labelled — in italics, right inside Granada Studios, seem

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