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The 1970s in Britain saw a series of industrial disputes, a referendum on membership in the European Economic Community, conflict about issues of immigration and citizenship, and emergent environmental and feminist movements. It was also a decade of innovation in the novel, and novelists often addressed the state of the nation directly in their works. In Politics and the British Novel in the 1970s Russell Perkin looks at social novels by John Fowles and Margaret Drabble, the Cold War thrillers of John le Carré, Richard Adams's best-selling fable Watership Down, the popular campus novels of Malcolm Bradbury and David Lodge, Doris Lessing's dystopian visions, and V.S. Naipaul's explorations of post-colonial displacement. Many of these highly regarded works sold in large numbers and have enjoyed enduring success – a testament to the power of the political novel to explain a nation to itself. Perkin explores the connections between the novel and politics, situating the works it discusses in the rich context of the history and culture of the decade, from party politics to popular television shows. Politics and the British Novel in the 1970s elucidates a period of literary history now fifty years in the past and offers a balanced perspective on the age, revealing that these works not only represented the politics of the time but played a meaningful role in them.
The classic political thriller that foretold the rise of Corbyn, from the acclaimed author of A View from the Foothills
How did social, cultural and political events in Britain during the 1970s shape Contemporary British Fiction? Exploring the impact of events like the Cold War, miners' strikes and Winter of Discontent, this volume charts the transition of British fiction from post-war to contemporary. Chapters outline the decade's diversity of writing, showing how the literature of Ian McEwan and Ian Sinclair interacted with the experimental work of B.S. Johnson. Close contextual readings of Welsh, Scottish, Northern Irish and English novels map the steady break-up of Britain. Tying the popularity of Angela Carter and Fay Weldon to the growth of the Women's Liberation Movement and calling attention to a new interest in documentary modes of autobiographical writing, this volume also examines the rising resonance of the marginal voices: the world of 1970s British Feminist fiction and postcolonial and diasporic writers. Against a backdrop of social tensions, this major critical reassessment of the 1970s defines, explores and better understands the criticism and fiction of a decade marked by the sense of endings.
The Promise of Welfare in the Postwar British Novel offers a new literary history of the Second World War and its aftermath by focusing on wartime visions of rebuilding Britain. Shifting attention from the "People's War" to the "People's Peace," this book shows that literature returns to the historic transition from warfare to welfare to narrate its transformative social potential and darker failures. The welfare state envisioned that managing individuals' private lives would result in a more coherent and equitable community, a promise encapsulated in the 1942 Beveridge Report's promise of care from the "cradle to the grave." The postwar novel reveals the intimate effects that follow when infrastructures of collective living seek to organize social interaction, tracing these effects through quasi-administrated home spaces such as girls' hostels, makeshift sanatoria, and experimental schools. Mid-century writers including Elizabeth Bowen, Muriel Spark, and Samuel Selvon used the militarized Home Front to present postwar Britain as a zone of lost privacy and new collective logics. As the century progressed, and as the unrealized dreams of welfare came to be dismantled, authors including Alan Hollinghurst, Michael Ondaatje, and Kazuo Ishiguro registered an unfulfilled nostalgia for a Britain that never was, situating British domestic policies within trajectories of historic and social violence. Contemporary fiction continues to reanimate the transition from a warfare state to a welfare state, preserving its transformative potential while redefining its possible futures. With this long view of postwar fiction, this volume demonstrates the holding power of welfare's promises of repair and Britain's mid-century on the British cultural imagination.
This book discusses British novels published during the 1970s which feature terrorists either as main characters or a major plot points. The focus on terrorism’s literary depiction provides insight into the politics of the decade. The book analyses texts from Gerald Seymour, Anthony Burgess, V.S. Naipaul, Graham Greene, Doris Lessing, B.S. Johnson, Tom Sharpe, and Eric Ambler, among others, in order to engage with the IRA, the end of Empire, counterculture and environmentalism. The book provides a brief history of terrorism as a concept and tactic before discussing British literature’s relationship with terrorism. It presents a “standard terrorist morphology” by which to analyse terrorist narratives along with other insights into the British post-war imagination, writing and extremism.
This book explores the intricate manifestations of contemporary power, its related ideology, and the “resistance” and reaction to the dominant discourse in Jonathan Coe’s political fiction, covering the dismantling of the British social-democratic consensus, Thatcherism and Blairism, up to the new ideology of “Globalism.” Beyond the predictable dichotomy of support-opposition to power, the book argues the modern individual seems to have found another ontological approach, for which it coins the concept of “intentional unpower”. Furthermore, it demonstrates that there are three possibilities regarding the evolution of this type of social response, and invites the readers to discover them, while enjoying Coe’s subtlety and humour. Given its broad approach, the book will appeal to researchers in a wide range of domains, including literary and cultural studies, political theory, and sociology, as well as any reader fascinated with the essence of power, intellectual response, and discourses containing their own elements of subversion.
This book maps the most active and vibrant period in the history of British women's writing. Examining changes and continuities in fiction, poetry, drama, and journalism, as well as women's engagement with a range of literary and popular genres, the essays in this volume highlight the range and diversity of women's writing since 1970.
This book offers a unique analysis of the wide-ranging responses of British novelists to the East-West conflict. Hammond analyses the treatment of such geopolitical currents as communism, nuclearism, clandestinity, decolonisation and US superpowerdom, and explores the literary forms which writers developed to capture the complexities of the age.
The Handbook systematically charts the trajectory of the English novel from its emergence as the foremost literary genre in the early twentieth century to its early twenty-first century status of eccentric eminence in new media environments. Systematic chapters address ̒The English Novel as a Distinctly Modern Genreʼ, ̒The Novel in the Economy’, ̒Genres’, ̒Gender’ (performativity, masculinities, feminism, queer), and ̒The Burden of Representationʼ (class and ethnicity). Extended contextualized close readings of more than twenty key texts from Joseph Conrad’s Heart of Darkness (1899) to Tom McCarthy’s Satin Island (2015) supplement the systematic approach and encourage future research by providing overviews of reception and theoretical perspectives.
In the early 1970s, Britain seemed to be tottering on the brink of the abyss. Under Edward Heath, the optimism of the Sixties had become a distant memory. This book recreates the gaudy, schizophrenic atmosphere of the early Seventies: the world of Enoch Powell and Tony Benn, David Bowie and Brian Clough, Germaine Greer and Mary Whitehouse.