This study considers the six novels written by English novelist, Barbara Pym (1913-1980), between 1949 and 1963, which demonstrate the response of a specific class of people, represented by her heroines, to the dramatic social, cultural and demographic changes that took place in Britain at the time. Treating Pym's 1950s novels as social-historical sources, this work attempts to analyze the way in which her portrayals of society, like those of so many other English writers, served both as a testimonies and critiques of the times in which she lived. The focal point of Pym's novels was the intera.

This book analyses Barbara Pym’s published and unpublished work through a new image, that of the troublesome woman. It details the political nature of her work, highlighting her feminist ideas which are hidden in village-like settings and revealed by troublesome women. By exploring Pym’s written work, published, and unpublished, diaries and notebooks, the book shows that this material gives credence to Hilary Pym’s interpretation of her sister as a complex person.

The Making of Barbara Pym offers new insights into Pym’s formative years as a writer, during which she honed a complex view of the necessity of change on individual and cultural levels. Supported by newly published archival material, this comprehensive study of Pym’s early work explores her personal and fictional pre-war and wartime writing, including unpublished and posthumously published works, before looking closely at Some Tame Gazelle and Excellent Women, published during Britain’s post-war austerity period. Of central importance is a new recognition of Pym’s use of social roles, particularly those of women, as proper avenues for change. The book traces how Pym came to devise characters whose individual development can be seen as analogous to or representative of larger cultural movements. Pym uses the spinster figure to embody the forward-looking cultural perspectives that she endorsed and then, finally, in Jane and Prudence, to figure the end of Britain’s austerity period.

The Testing of Barbara Pym, a companion volume to The Making of Barbara Pym (Palgrave Macmillan, 2021), completes a comprehensive analysis of Pym’s novels and her life, focusing on her complex view of the necessity of change at both the individual and cultural levels. Newly published archival material supports this treatment of Pym’s vision of a changing world – a vision premised upon the principle of continuity, a linking together of past, present, and future. In her novels published from 1955-1980, beginning with Britain’s emergence from post-war austerity, Pym portrays, in an optimistic fashion, several changing aspects of British culture: expansion of the suburbs, acceptance of homosexual men, erosion of the class system, inclusivity in the Anglican Church. But with these changes, new strains emerge as well; the principle of continuity undergoes radical testing and is then emphatically reasserted. Likewise, despite upheavals to established patterns in her life, chiefly the inability to publish her work, Pym persisted in cultivating such elements of continuity as she could, an effort rewarded, while she was in rural retirement, by a return to the publishing world. Thus, in both Pym’s novels and her life, continuity survives the duress of testing circumstances.

In this study of three of Barbara Pym’s novels, Naghmeh Varghaiyan, drawing on examinations of women’s humour by Eileen Gillooly, Regina Barreca, and others, shows how the humorous female discourse in Some Tame Gazelle, Excellent Women, and Jane and Prudence undermines patriarchal culture and subverts both female and male stereotypes such as that of the spinster and of the Byronic hero. Varghaiyan reveals how the rhetoric of women’s humour enables Pym’s female characters to survive in the patriarchal culture and to unsettle it.

Focusing on the 1950s and early 1960s, Culture Writing argues that this period in Britain, the United States, France, and the Caribbean was characterized by dynamic exchanges between literary writers and anthropologists on both sides of the Atlantic. As the British and French empires collapsed and the United States rose to global power in the early Cold War, and as intellectuals from the decolonizing world challenged the cultural hegemony of the West, some anthropologists began to assess their discipline's complicity with empire and experimented with literary forms and technique. Culture Writing shows that the "literary turn" in anthropology took place earlier than has conventionally been assumed, in the 1950s rather than the 1970s and 80s. Simultaneously, some literary writers reacted to the end of the period of modernist experimentation by turning to ethnographic methods for representing the people and cultural practices of Britain, France, and the United States, bringing anthropology back home. There is analysis of literary writers who had a significant professional engagement with anthropology and brought some of its techniques and research questions into literary composition: Barbara Pym (Britain), Ursula Le Guin and Saul Bellow (United States), Édouard Glissant (Martinique), and Michel Leiris (France). On the side of ethnography, the book analyzes works by anthropologists who either explicitly or surreptitiously adopted literary forms for their writing about culture: Laura Bohannan (United States), Michel Leiris and Claude Lévi-Strauss (France), and Mary Douglas (Britain). Culture Writing concludes with an epilogue that shows how the literature-anthropology conversation continues into the postcolonial period in the work of Indian author-anthropologist Amitav Ghosh and Jamaican author-sociologist Erna Brodber.

Teaching Theory offers a selection of essays on the pragmatics, benefits and shortcomings of Theory as a key aspect of literature teaching in universities. They range from reflective discussions of Theory as an intellectual challenge for undergraduates to accounts of the day-to-day problems of planning and teaching courses and implementing Theory.

Includes both books and articles.