This History offers a new and comprehensive picture of 1930s British literature. The '30s have often been cast as a literary-historical anomaly, either as a 'low, dishonest decade', a doomed experiment in combining art and politics, or as a 'late modernist' afterthought to the intense period of artistic experimentation in the 1920s. By contrast, the contributors to this volume explore the contours of a 'long 1930s' by repositioning the decade and its characteristic concerns at the heart of twentieth-century literary history. This book expands the range of writers covered, moving beyond a narrow focus on towering canonical figures to draw in a more diverse cast of characters, in terms of race, gender, class, and forms of artistic expression. The book's four sections emphasize the decade's characteristic geographical and sexual identities; the new media landscapes and institutional settings its writers operated in; questions of commitment and autonomy; and British writing's international entanglements.

Explores 1930s authors, genres, and contexts, giving fresh attention to well-known authors and bringing new writers and approaches to the fore.

Winner of the 2018 International Standing Conference for the History of Education's First Book Award Drawing on a rich array of archival sources and historical detail, The Politics of 1930s British Literature tells the story of a school-minded decade and illuminates new readings of the politics and aesthetics of 1930s literature. In a period of shifting political claims, educational policy shaped writers' social and gender ideals. This book explores how a wide array of writers including Virginia Woolf, W.H. Auden, George Orwell, Winifred Holtby and Graham Greene were informed by their pedagogic work. It considers the ways in which education influenced writers' analysis of literary style and their conception of future literary forms. The Politics of 1930s British Literature argues that to those perennial symbols of the 1930s, the loudspeaker and the gramophone, should be added the textbook and the blackboard.

In the 1930s, the discourse of travel furthered widely divergent and conflicting ideologies—socialist, conservative, male chauvinist, and feminist—and the major travel writers of the time revealed as much in their texts. Evelyn Waugh was a declared conservative and fascist sympathizer; George Orwell was a dedicated socialist; Graham Greene wavered between his bourgeois instincts and his liberal left-wing sympathies; and Rebecca West maintained strong feminist and liberationist convictions. Bernard Schweizer explores both the intentional political rhetoric and the more oblique, almost unconscious subtexts of Waugh, Orwell, Greene, and West in his groundbreaking study of travel writing's political dimension. Radicals on the Road demonstrates how historically and culturally conditioned forms of anxiety were compounded by the psychological dynamics of the uncanny, and how, in order to dispel such anxieties and to demarcate their ideological terrains, 1930s travelers resorted to dualistic discourses. Yet any seemingly fixed dualism, particularly the opposition between the political left and the right, the dichotomy between home and abroad, or the rift between utopia and dystopia, was undermined by the rise of totalitarianism and by an increasing sense of global crisis—which was soon followed by political disillusionment. Therefore, argues Schweizer, traveling during the 1930s was more than just a means to engage the burning political questions of the day: traveling, and in turn travel writing, also registered the travelers' growing sense of futility and powerlessness in an especially turbulent world.

This study approaches the fiction of the 1930s through critical debates about genre, language and history, setting these in their original context, and discussing the generic forms most favoured by novelists at the time. Chris Hopkins uses a series of case studies of texts to draw on, develop or explore the boundaries, contemporary usefulness and complexities of particular prose genres. Generic debates and the political-aesthetic effects of different kinds of representation were live issues as discursive struggles and negotiations took place between modernist and realist modes, between high, middle and lowbrow categorisations of culture, between literature and mass culture, and between different conceptions of the role of the writer, politics and nationality, sexuality and gender identities. Chris Hopkins draws both on well-known texts and on novels which have only recently begun to be discussed by critics of the thirties - particularly those by women writers whose work has still not been related very clearly to the literary and political debates of the period. Organised in five sections each focusing on major genres, he takes a wide range of novels as case studies and discusses their uses of generic forms, relating them to other examples and to their historical, political and cultural contexts.

This volume of new writings has a double purpose: to question Auden's description of the 1930s as a 'low dishonest decade' and to draw attention to the richness, complexity and diversity of women's writing of the period and how this deals with issues of politics, gender and history. The writers discussed include Elizabeth von Arnim, Elizabeth Bowen, Katherine Burdekin, Nancy Cunard, Storm Jameson, Rosamond Lehmann, Naomi Mitchison, Jean Rhys, Sylvia Townsend Warner, Rebecca West and Virginia Woolf.Key Features* A clear and informative introduction by Maroula Joannou sets the writers in historical and literary context* The essays deal with Modernist texts as well as traditional modes of writing, and with neglected and well-known writers* An important challenge to the ways in which the literature of the 1930s has been traditionally understood which questions the myth of the Auden generation* Brings together a range of distinguished contributors all of whom are experienced university teachers who all contribute new research

Committed Styles offers a new understanding of the politicized literature of the 1930s and its relationship to modernism. It reclaims a central body of literary and critical works for modernist studies, offering in-depth readings of texts by T.S. Eliot and I.A. Richards, as well as by key left-wing authors including William Empson, David Gascoyne, Charles Madge, Humphrey Jennings, and Edward Upward. Building on substantial new archival research, Benjamin Kohlmann explores the deep tensions between modernist experimentation and political vision that lie at the heart of these works. Taking as its focus the work of these writers, the book argues that the close interactions between literary production, critical reflection, and political activism in the decade shaped the influential view of modernism as fundamentally apolitical. Intervening in debates about the long life of modernism, it contends that we need to take seriously the anti-modernist impulse of 1930s left-wing literature even when attention is paid to the formal complexity of these 'committed' works. The tonal ambiguities which run through the politicised literature of the 1930s thus effect not a disengagement from but a more thorough immersion in the profoundly conflicted political commitments of the decade. At the same time, the study shows that debates about the politics of writing in the 1930s continue to inform current debates about the relationship between literature and political commitment.

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.

British Literature and the Life of Institutions charts a literary prehistory of the welfare state in Britain around 1900, but it also marks a major intervention in current theoretical debates about critique and the dialectical imagination. By placing literary studies in dialogue with political theory, philosophy, and the history of ideas, the book reclaims a substantive reformist language that we have ignored to our own loss. This reformist idiom made it possible to imagine the state as a speculative and aspirational idea—as a fully realized form of life rather than as an uninspiring ensemble of administrative procedures and bureaucratic processes. This volume traces the resonances of this idiom from the Victorian period to modernism, ranging from Mary Augusta Ward, George Gissing, and H. G. Wells, to Edward Carpenter, E. M. Forster, and Virginia Woolf. Compared to this reformist language, the economism that dominates current debates about the welfare state signals an impoverishment that is at once intellectual, cultural, and political. Critiquing the shortcomings of the welfare state comes naturally to us, but we often struggle to offer up convincing defences of its principles and aims. This book intervenes in these debates by urging a richer understanding of critique: if we want to defend the state, Kohlmann argues, we need to learn to think about it again.