Midcentury Modern Writers – serie

The first fully detailed and critically contextualised study of the novels of Ivy Compton-BurnettIvy Compton-Burnett is a strikingly original novelist, writing conversation-novels in which talk is the medium and subject. She is innovative like Joyce and Woolf but more accessible and less theoretical, a modernist unawares. She makes readers think and her terse cool witty style reminds us that the novel is an art. To read most living writers of fiction after reading her is to feel novelists have become lazy and made their readers lazy. She requires attention, and she doesn’t write to pass the time or invite identification, but she is amusing and challenging.This re-valuation of a neglected artist is a close analysis of forms, ideas and language in novels which range from her first conventionally moral love-story, Dolores, which she tried to suppress, to startling stories about landed gentry in Victorian and Edwardian England.Key FeaturesProvides incisive and accessible close readings of Compton-Burnett’s language, life-narratives, emotional expression and thoughtPresents new work of a leading criticPlaces Compton-Burnett in the context of Modernist writing

Didier Debaise focuses in on Whitehead s attempt to construct a metaphysical system of everything in the universe that exists whilst simultaneously claiming that it can account for every element of our experience, giving us a radically new way of conceiving the relations between experience and speculation.

A bold new study of literary and photographic depictions of London in the 1930sLondon Writing in the 1930s offers a new perspective on the decade that has long been associated with the Auden generation and the rise of documentary. It argues for the centrality of urban fiction and photography to the decade's experiments in representing daily life. Why the period’s London-set novels were so often described as 'photographic', and what kind of photographs inspired such comparisons? Tracing representations of London by a wide range of 1930s writers and photographers, including Patrick Hamilton, Jean Rhys, George Orwell, and Bill Brandt, the book's chapters are organised around London's spaces of leisure. Teashops, cinemas, and the night clubs of Soho were central to 1930s negotiations of the interrelation between urban life, gender, and class; these settings provide this book both with cultural-historical context and with the basis for its argument about the decade's aesthetic orientations.Key FeaturesPositions London writing as central to British literature of the 1930sArgues that interrelationship between journalistic, photographic, and Naturalist models is key to the decade’s literary aestheticOffers critical readings of neglected and forgotten 1930s writers such as Betty Miller, Norah Hoult, Storm JamesonCombines literary analysis with research into the cultural histories of 1930s London’s spaces of leisure

London Writing in the 1930s offers a new perspective on the decade that has long been associated with the Auden generation and the rise of documentary. It argues for the centrality of urban fiction and photography to the decade's experiments in representing daily life. Why the period's London-set novels were so often described as 'photographic', and what kind of photographs inspired such comparisons? Tracing representations of London by a wide range of 1930s writers and photographers, including Patrick Hamilton, Jean Rhys, George Orwell, and Bill Brandt, the book's chapters are organised around London's spaces of leisure. Teashops, cinemas, and the night clubs of Soho were central to 1930s negotiations of the interrelation between urban life, gender, and class; these settings provide this book both with cultural-historical context and with the basis for its argument about the decade's aesthetic orientations.

One of the prominent themes of the political history of the 16th and 17th centuries is the waxing influence officials in the exercise of state power, particularly in international relations, as it became impossible for monarchs to stay on top of the increasingly complex demands of ruling. Encompassing a variety of cultural and institutional settings, these essays examine how state secretaries, prime ministers and favourites managed diplomatic personnel and the information flows they generated. They explore how these officials balanced domestic matters with external concerns, and service to the monarch and state with personal ambition. By opening various perspectives on policy-making at the level just below the monarch, this volume offers up rich opportunities for comparative history and a new take on the diplomatic history of the period.