Roger Ebbatson – författare

'Ebbatson demonstrates, with considerable originality and effectiveness, the impact of Darwin's theories on all of Hardy's novels, as well as some of his poetry, and of Herbert Spencer's theories especially on 'The Return of the Native.'

In his highly theorised and original book, Roger Ebbatson traces the emergence of conceptions of England and Englishness from 1840 to 1920. His study concentrates on poetry and fiction by authors such as Alfred Lord Tennyson, Richard Jefferies, Thomas Hardy, Q, Rupert Brooke and D.H. Lawrence, reading them as a body of work through which a series of problematic English identities are imaginatively constructed. Of particular concern is the way literary landscapes serve as signs not only of identity but also of difference. Ebbatson demonstrates how a sense of cultural rootedness is contested during the period by the experiences of those on the societal margins, whether sexual, national, social or racial, resulting in a feeling of homelessness even in the most self-consciously 'English' texts. In the face of gradual imperial and industrial decline, Ebbatson argues, foreign and colonial cultures played a crucial role in transforming Englishness from a stable body of values and experiences into a much more ambiguous concept in continuous conflict with factors on the geographical or psychological 'periphery'.

In the 1990s it was the French theorists such as Derrida, Lacan and Foucault who, with their stress on linguistic play and undecidability, took Victorian Studies by storm; now, it seems, it is the Germans who are coming. In Roger Ebbatson's new book, Marx, Simmel, Benjamin and, above all, Heidegger are unleashed on a range of Victorian texts -- some unsuspecting, some all too suspecting. The results are alarming: Ebbatson begins with Tennyson overshadowed by empire and homosocial tensions and ends with Conan Doyle writing about a bicycle belonging to a character called Heidegger. In between, he makes bone-shaking progress over a Victorian terrain marked out by Thomas Hardy, Richard Jefferies, Gerard Manley Hopkins, and Robert Louis Stevenson; along the way, Ebbatson considers shipwrecks, money, nature, the South Seas Mission, and final solutions'. Tennyson, we discover, was afraid of his own shadow, Hopkins's greatest poem was created by erratic compasses, Hardy wrote like Kafka, Stevenson was drawn to murderous missionaries, and Conan Doyle applauded the concentration camp. Ebbatson shows us that what the Germans bring to our understanding of the nineteenth century is a terrible awareness of the darkest moments of the darkest moments of the twentieth century.

In the 1990s it was the French theorists such as Derrida, Lacan and Foucault who, with their stress on linguistic play and undecidability, took Victorian Studies by storm; now, it seems, it is the Germans who are coming. In Roger Ebbatson's new book, Marx, Simmel, Benjamin and, above all, Heidegger are unleashed on a range of Victorian texts -- some unsuspecting, some all too suspecting. The results are alarming: Ebbatson begins with Tennyson overshadowed by empire and homosocial tensions and ends with Conan Doyle writing about a bicycle belonging to a character called Heidegger. In between, he makes bone-shaking progress over a Victorian terrain marked out by Thomas Hardy, Richard Jefferies, Gerard Manley Hopkins, and Robert Louis Stevenson; along the way, Ebbatson considers shipwrecks, money, nature, the South Seas Mission, and final solutions'. Tennyson, we discover, was afraid of his own shadow, Hopkins's greatest poem was created by erratic compasses, Hardy wrote like Kafka, Stevenson was drawn to murderous missionaries, and Conan Doyle applauded the concentration camp. Ebbatson shows us that what the Germans bring to our understanding of the nineteenth century is a terrible awareness of the darkest moments of the darkest moments of the twentieth century.

This book examines Thomas Hardy’s writing in both prose and poetry, focusing on issues of perception, ‘being’, class and environment.

This book is about the resonance and implications of the idea of ‘eternal recurrence’, as expounded notably by Nietzsche, in relation to a range of nineteenth-century literature.