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Dorothy Richardson is a major modernist novelist, only now beginning to attract the critical attention she deserves. In her time she was regarded as a pioneer, the originator of narrative 'stream of consciousness', her exploration of a woman's consciousness comparable to Proust. In this innovative study, Carol Watts reads her extraordinary thirteen-volume novel Pilgrimage in its context, as a difficult record, a 'screen memory', of the impact of modern urban life on a new woman gradually emerging from the domestic constraints of Victorian tradition. The book draws on Richardson's short fiction and for the first time assesses the significance of her contributions to the avant-garde film journal, Close Up. Richardson's attempt to forge an adequate language for the representation of women's experience in modernity leads her to the public space of silent cinema. This study offers an exciting challenge to common readings of literary modernism, and a powerful argument as to why Dorothy Richardson is not Virginia Woolf.
This brief study surveys British and American crime fiction from the first detective stories of Edgar Allan Poe to the present day, exploring the ways in which Poe's basic form has intertwined with more suspense-driven elements to produce fiction featuring spies, private-eyes and serial killers, as well as the classic whodunnit.
This study discusses every phase of Dickens' development within his fiction, while particular attention is paid to those writings which fall into the category of first person narrative. It is through the use of the first person in novels, letters and travel writings that Dickens reveals a good deal, not only about his own identity, but also about the construction of Victorian subjectivity in general. The overriding focus of the analysis in this book is a literary one, although it includes a series of reflections on aspects of Victorian society and culture: prisons, schools, money, poverty, fallen women, orphans, detectives and The Great Exhibition.
Elizabeth Barrett Browning (1806-61) was one of the most important poets of the nineteenth century and has recently undergone a major critical reappraisal. In this study, Simon Avery considers a range of her poems, drawn from across her career, in order to examine the concern with the search for a meaningful home which underpins much of her writing. In a series of interrelated chapters of Barrett Browning’s religious poetry, love poetry, political poetry, and her major work, Aurora Leigh, he explores the way in which speakers and protagonists of her poems constantly search for a place of security and stability even though this often seems finally unattainable. Attention is also given to Barrett Browning’s own search for a home in relation to inherited poetic models and traditions, and her establishment of an often radical poetics.
This title is a study of Tennyson's lyrical imagination, describing its complex fascinations with recurrence, progress, narrative, and loss, and its doubts about its own artfulness.
An introduction to Anglo-Saxon poetry which combines powerful, new translations with lucid commentary,bringing these Old English texts within the reach of the general reader.
The notion of thinking as an outside, and the critical distance which this entails, is a key to an understanding of Desai as writer, and a recurrent theme for the discussions of her novels and short stories in her book. It informs her authorial perspectives on India, its places, scenes, and people, and her creative engagement with those who, through a combination of accident and choice, find themselves marginalised, displaced, and dispossessed. The search for other, alternative, worlds outside of the social and cultural mainstream defines the self-identity of many of Desai's characters, and underlines their problematic identification with the communities in which they are located. Through detailed discussions of a number of short stories and novels, and references to other works by Indo-English writers, this book shows how Desai maps her 'India', and opens up ways of reading 'India' for the reader as outsider.
Although much of Carter's work is considered part of the contemporary canon, its true strangeness is still only partially understood. Lorna Sage argues that one key to a better understanding of Carter's writings is the extraordinary intelligence with which she read the cultural signs of our times. From structuralism and the study of folk tales in the 1960s to fairy stories, gender politics and the theoretical 'pleasure of the text', which she makes so real in her writing. Carter legitimised the life of fantasy and celebrated the fertility of the female imagination more than any other writer.
This is a concise, analytical discussion of Bainbridge's novels, their subtle and complex treatment of the past and their significance to the post-war canon.
The act of poetry is never free from risk; this study shows how Bunting remained faithful to his calling, notwithstanding the twists and turns of his extraordinary life, and he left in his wake an extraordinary body of poetry.
Douglas Dunn is one of the most widely-read and respected poets of his generation. In a career spanning over 30 years, he has refined lyric and elegiac poetry into an instrument with which to make acute observations of English urban scenes, pastoral traditions, class and education, and the past, present and future of his native Scotland.