Providing a compact literary history of the twentieth century in England, Cities of Affluence and Anger studies the problematic terms of national identity during England's transition from an imperial power to its integration in the global cultural marketplace. While the countryside had been the dominant symbol of Englishness throughout the previous century, modern literature began to turn more and more to the city to redraw the boundaries of a contemporary cultural polity. The urban class system, paradoxically, still functioned as a marker of wealth, status, and hierarchy throughout this long period of self-examination, but it also became a way to project a common culture and mitigate other forms of difference. Local class politics were transformed in such a way that enabled the English to reframe a highly provisional national unity in the context of imperial disintegration, postcolonial immigration, and, later, globalization. Kalliney plots the decline of the country-house novel through an analysis of Forster’s Howards End and Waugh’s Brideshead Revisited, each ruthless in its sabotage of the trope of bucolic harmony. The traditionally pastoral focus of English fiction gives way to a high-modernist urban narrative, exemplified by Woolf’s Mrs. Dalloway, and, later, to realists such as Osborne and Sillitoe, through whose work Kalliney explores postwar urban expansion and the cultural politics of the welfare state. Offering fresh new readings of Lessing’s The Golden Notebook and Rushdie’s The Satanic Verses, the author considers the postwar appropriation of domesticity, the emergence of postcolonial literature, and the renovation of travel narratives in the context of globalization. Kalliney suggests that it is largely one city--London--through which national identity has been reframed. How and why this transition came about is a process that Cities of Affluence and Anger depicts with exceptional insight and originality.

Durrell and the City commemorates the fiftieth anniversary of the publication of The Alexandria Quartet with a collection of fourteen new essays by a group of international scholars and critics. The collection provides a critical consideration of Durrell's urban landscapes, from the London of his early novels to Avignon during World War II in his last great series, while focusing on the place that made him famous--the city of Alexandria--in order to provide a reassessment of his career and achievement.

Explores the crucial role played by the city in the construction of modernismThis innovative book examines the development of modernist writing in four European cities: London, Paris, Berlin and Vienna. Focusing on how literary outsiders represented various spaces in these cities, it draws upon contemporary theories of affect and literary geography. Particular attention is given to the transnational qualities of modernist writing by examining writers whose view of the cities considered is that of migrants, exiles or strangers, including Mulk Raj Anand, Blaise Cendrars, Bryher, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirrlees, Noami Mitchison, Jean Rhys, Sam Selvon and Stephen Spender.Key FeaturesThe first book in modernist studies to bring detailed discussion of these four cities togetherBreaks new ground in being the first book to bring affect theory and literary geography together in order to analyse modernismAn extensive range of authors is analysed, from the canonical to the previously marginalSituates the literary and filmic texts within the context of urban spaces and cultural institutions

Edited collection from acclaimed contemporary Woolf scholars, focusing on urban issues. These include addressing the ethical and political implications of Virginia Woolf's work, a move that suggests new insights into Woolf as a "real world" and social critic.

For better or worse, E.P. Thompson’s monumental book The Making of the English Working Class has played an essential role in shaping the intellectual lives of generations of readers since its original publication in 1963. This collected volume explores the complex impact of Thompson’s book, both as an intellectual project and material object, relating it to the social and cultural history of the book form itself—an enduring artifact of English history.

Murder Capital is a historical study of unexpected deaths whose circumstances required official investigation in mid-twentieth-century London. Suspicious deaths – murders in the family and by strangers, infanticides and deaths from illegal abortions – reveal moments of personal and communal crisis in the social fabric of the city. The intimate details of these crimes revealed in police investigation files, newspaper reports and crime scene photographs hint at the fears and desires of people in London before, during and after the profound changes brought by the dislocations of the Second World War. By setting the institutional ordering of the city against the hidden intimate spaces where crimes occurred and were discovered, the book presents a new popular history of the city, in which urban space circumscribed the investigation, classification and public perceptions of crime.

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.

It has become axiomatic that First World War literature was disenchanted, or disillusioned, and returning combatants were unable to process or communicate that experience. In Writing disenchantment, Andrew Frayn argues that this was not just about the war: non-combatants were just as disenchanted as those who fought, and writers such as D. H. Lawrence and Virginia Woolf produced some of the sharpest criticisms. Its language already existed in contemporary sociological and historical accounts of the problems of mass culture and the modern city, whose structures contained the conflict and were strengthened during it. Archival material, sales data and reviews are used to chart disenchantment in a wide range of early twentieth-century war literature from novels about fears of invasion and pacifism, through the modernist novels of the 1920s to its dominance in the War Books Boom of 1928–30. This book will appeal to scholars and students of English literature, social and cultural history, and gender studies.

This book is the first comparative analysis of a new generation of diasporic Anglophone South Asian women novelists including Kiran Desai, Tahmima Anam, Monica Ali, Kamila Shamsie and Jhumpa Lahiri from a feminist perspective. It charts the significant changes these writers have produced in postcolonial and contemporary women’s fiction since the late 1990s. Paying careful attention to the authors’ distinct subcontinental backgrounds of Pakistan, Bangladesh and Sri Lanka – as well as India - this study destabilises the central place given to fiction focused on India. It broadens the customary focus on diasporic writers’ metropolitan contexts, illuminates how these transnational, female-authored literary texts challenge national assumptions and considers the ways in which this new configuration of transnational, feminist writers produces a postcolonial feminist discourse, which differs from Anglo-American feminism.