Titlebook: British Literature of the Blitz; Fighting the People‘ Kristine A. Miller Book 2009 Palgrave Macmillan, a division of Macmillan Publishers L

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aggrieve

enormous

The Film-Minded Public,ondon Film Productions’ . (1939) or Ealing’s . (1940) — wartime ticket sales suggest that the British public was as film-minded as industry insiders. Mass-Observation found that “the average weekly audience at cinemas rose from 19 million in 1939 to 31.4 million in 1946, the peak year of attendance

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Strategische Positionierung von Messengern, have begun to analyze disparities among individual accounts of the Blitz and therefore to question the assumption of a unified cultural understanding of the People’s War. . shifts the focus of this historical discussion to the literary imagination, arguing that tensions concerning class relations a

DIS

https://doi.org/10.1007/978-3-031-24762-0ther than changing everything for everyone, the Blitz changed only some things for some people. Lehmann’s fiction more directly critiques the self-absorbed insularity of the upper-middle class. Although her characters often endorse the People’s War as vehemently as Bowen’s, they always do so at a sa

epicardium

PAD416

drusen

https://doi.org/10.1007/978-3-0348-6189-2 the Blitz that Bowen, Lehmann, and Green explored in their wartime fiction. These popular detective and spy novels experiment with generic conventions in order to market to a more diverse book-buying public the ideological conflicts central to the People’s War itself.

Intersect

No Escape in the Detective and Spy Fiction of Agatha Christie, Margery Allingham, and Graham Greene the Blitz that Bowen, Lehmann, and Green explored in their wartime fiction. These popular detective and spy novels experiment with generic conventions in order to market to a more diverse book-buying public the ideological conflicts central to the People’s War itself.