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The years between the death of Queen Victoria and the outbreak of the First World War witnessed a turbulent and dramatic struggle between the old and the new. This book offers a portrait of a tumultuous time - out of which contemporary England was made.
The Edwardian Turn of Mind brilliantly evokes the cultural temper of an age. The years between the death of Queen Victoria and the outbreak of the First World War witnessed a turbulent and dramatic struggle between the old and the new. Samuel Hynes considers the principal areas of conflict - politics, science, the arts and the relations between men and women - and fills them with a wide-ranging cast of characters: Tories, Liberals and Socialists, artists and reformers, psychoanalysts and psychic researchers, sexologists, suffragettes and censors. His book is a portrait of a tumultuous time - out of which contemporary England was made.
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The controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. International Ford Madox Ford Studies has been founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; each will relate aspects of Ford's work, life, and contacts, to broader concerns of his time. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade's End, which Anthony Burgess described as 'the finest novel about the First World War'; and Samuel Hynes has called 'the greatest war novel ever written by an Englishman'. These works, together with his trilogy The Fifth Queen, about Henry VIII and Katharine Howard, are centrally concerned with the idea of Englishness. All these, and other works across Ford's prolific oeuvre, are studied here. Critics of Edwardian and Modernist literature have been increasingly turning to Ford's brilliant 1905 experiment in Impressionism, The Soul of London, as an exemplary text. His trilogy England and the English (of which this forms the first part) provides a central reference-point for this volume, which presents Ford as a key contributor to Edwardian debates about the 'Condition of England'. His complex, ironic attitude to Englishness makes his approach stand out from contemporary anxieties about race and degeneration, and anticipate the recent reconsideration of Englishness in response to post-colonialism, multiculturalism, globalization, devolution, and the expansion and development of the European Community. Ford's apprehension of the major social transformations of his age lets us read him as a precursor to cultural studies. He considered mass culture and its relation to literary traditions decades before writers like George Orwell, the Leavises, or Raymond Williams. The present book initiates a substantial reassessment, to be continued in future volumes in the series, of Ford's responses to these cultural transformations, his contacts with other writers, and his phases of activity as an editor working to transform modern literature. From another point of view, the essays here also develop the project established in earlier volumes, of reappraising Ford's engagement with the city, history, and modernity.
This collection of essays on modernist culture reassesses the convergence of low and high cultures, of socialist and aesthete, late Victorian and young Georgian, the popular and the coterie. Academic literary studies have until recently preferred to treat the "opaque," "difficult" writings of high moderns Conrad, Yeats, Woolf, and Eliot, and the more accessible work of the low moderns Kipling, Shaw, and Wells in separate categories. In contributions by scholars David Bromwich, Roy Foster, Edna Longley, Louis Menand, Edward Mendelson, and others, High and Low Moderns brings these writers into critical proximity. Essays on such topics as the public mourning of Queen Victoria, Florence Farr and the "New Woman," the Edwardian Shaw, Lady Gregory's attraction to Irish felons, and the high artistic uses of low entertainments--cinema, detective fiction, and journalism-- introduce a subtler model of modernism, in which "demotic" and "elite" cultural forms criticize, imitate, and address one another.
This is a study of a literary generation writing in a period of expanding fears and ever more urgent political and social crises. The pace of the time itself, the sense of time passing and an end approaching gave a special quality to the Thirties. The public world pressed insistently on the private world. For those who came of literary age - Auden, Day Lewis, MacNeice, Spender, Graham Greene, Isherwood and Orwell among them - writing became a form of action. In the process a generation discovered itself and found its own expression.
"A convincing account of a watershed epoch, Hattersley's concise yet comprehensive history casts new light on a much-misunderstood era." - Publishers Weekly Edwardian Britain has often been described as a golden sunlit afternoon---personified by its genial and self-indulgent King. In fact, modern Britain was born during the reign of Edward VII, when politics, science, literature, and the arts were turned upside down. In Parliament, the peers were crushed for the first time since Magna Carta. Irish nationalists and suffragettes took politics out on to the streets. Home Rule and Votes for Women were delayed, not precipitated, by the First World War. Great parliamentary stars such as Lloyd George and Winston Churchill typified an era in which personalities dominated the headlines of the new tabloid newspapers. It was the age of Rolls and Royce, Scott and Shackleton, Edward Elgar, Shaw, the Pankhursts, and Mrs. Alice Keppel, whose social life was reported without mention of her relationship with the King. The theater of ideas superseded drawing room dramas. Novelists of genius---from Henry James to D. H. Lawrence---produced a masterpiece each year. A London gallery caused a sensation with an exhibition of "Postimpressionists." Edward Elgar was the first English composer for two hundred years to stand comparison with the continental European masters. In sport, Victorian chivalry was replaced with unashamed professionalism. Man flew for the first time and the motorcar became a common sight on city streets. Physicists examined the structure of the atom and philosophers disputed the traditional definition of virtue. The churches tried, without success, to confront and confound a new skepticism. Explorers sought to prove that men could live, and die, like gods. Drawing on previously unpublished diaries and letters, Roy Hattersley's The Edwardians is a beguiling account of a turbulent and frequently misunderstood period. It is a full and often humorous portrait of an era that he elevates to its rightful place in British history.
Edwardian Culture: Beyond the Garden Party is the first truly interdisciplinary collection of essays dealing with culture in Britain c.1895-1914. Bringing together essays on literature, art, politics, religion, architecture, marketing, and imperial history, the study highlights the extent to which the culture and politics of Edwardian period were closely intertwined. The book builds upon recent scholarship that seeks to reclaim the term ‘Edwardian’ from prevalent, restrictive usages by venturing beyond the garden party – and the political rally – to uncover some of the terrain that lies between. The essays in the volume – which deal with both famous writers such as J. M. Barrie and Arnold Bennett, as well as many lesser-known figures – draw attention to the nuanced multiplicity of experience and cultural forms that existed during the period, and highlight the ways in which a closer examination of Edwardian culture complicates our definitions of ‘Victorian’ and ‘Modern’. The book argues that the Edwardian era, rather than constituting a coda to the Victorian period or a languid pause before modernism shook things up, possessed a compelling and creative tenor of its own.