By Brian W. Shaffer

A spouse to the British and Irish Novel 1945–2000 serves as a longer advent and reference advisor to the British and Irish novel among the shut of worldwide conflict II and the flip of the millennium.

The spouse embraces the entire diversity of this wealthy and heterogeneous topic, masking: particular British and Irish novels and novelists starting from Samuel Beckett to Salman Rushdie; specific subgenres reminiscent of the feminist novel and the postcolonial novel; overarching cultural, political, and literary tendencies equivalent to reveal diversifications and the literary prize phenomenon. the entire essays are proficient through present severe and theoretical debates, yet are designed to be obtainable to non-specialists.

The quantity as an entire supplies readers a feeling of the power with which the modern novel is still mentioned.

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London: J. M. Dent. Waugh, Evelyn (1943) [1942] Put Out More Flags. Harmondsworth: Penguin. —— (1962) [1945] Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder. Harmondsworth: Penguin. —— (1965) [1930] Vile Bodies. Harmondsworth: Penguin. —— (1970) [1952] Men at Arms. Harmondsworth: Penguin. —— (1975) [1961] Unconditional Surrender. Harmondsworth: Penguin. —— (1980) The Letters of Evelyn Waugh, ed. Mark Amory. London: Weidenfeld and Nicolson. —— (1985) [1955] Officers and Gentlemen.

Fussell, Paul (1989) Wartime: Understanding and Behavior in the Second World War. New York: Oxford University Press. —— (2000) [1975] The Great War and Modern Memory. Oxford: Oxford University Press. Green, Henry (1965) [1943] Caught. London: Hogarth Press. —— (1946) Back. London: Hogarth Press. Greene, Graham (1961) [1936] A Gun For Sale. London: Heinemann. —— (1978) [1943] The Ministry of Fear. Harmondsworth: Penguin. —— (1968) [1948] The Heart of the Matter. Harmondsworth: Penguin. —— (1969) Collected Essays.

Thus, in the final editorial for his magazine, Horizon, at the end of 1949, Cyril Connolly wrote: ‘‘it is closing time in the gardens of the West and from now on an artist will be judged only by the resonance of his solitude or the quality of his despair’’; and T. C. Worsley noted in the New Statesman: ‘‘Five years after the war there is still no sign of any kind of literary revival; no movements are discernible; no trends’’ (Jacobs 1995: 165). Some critics got into the habit of remarking that the novel, as a literary form, was probably dead.

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