The ethos of the English novel Englishness Orwell: The Lion and the Unicorn (1941); England Your

England (1941); The English People (1944) deep England is somehow bound up with solid breakfasts and gloomy Sundays, smoky towns and winding roads, green fields and red pillar-boxes (The English People) They were standing in the shade of hazel bushes. The sunlight, filtering through the innumerable leaves, was still on their faces. Winston looked out into the field beyond, and underwent a shock of recognition Its the Golden Country almost, he murmured. The Golden Country? Its nothing really. A landscape Ive seen sometimes in a dream. (Orwell, Nineteen Eighty-Four) Now I am quite prepared to believe that other countries can offer more obviously spectacular scenery. Indeed, I have seen in encyclopaedias and the National Geographic Magazine breathtaking photographs of sights from various corners of the globe; magnificent canyons and waterfalls, raggedly beautiful mountains. It has never, of course, been my privilege to have seen such things at first hand, but I will nevertheless hazard this with some confidence: the English landscape at its finest possesses a quality that the landscapes of other nations, however more superficially dramatic, inevitably fail to possess. It is, I believe, a quality that will mark out the English landscape to any objective observer as the most deeply satisfying in the world, and this quality is probably best summed up by the term greatness. [] it is the very lack of obvious drama or spectacle that sets the beauty of our land apart. What is pertinent is the calmness of that beauty, its sense of restraint. It is as if the land knows of its own beauty, of its own greatness, and feels no need to shout it. In comparison, the sorts of sights offered in such places as Africa and America, though undoubtedly very exciting, would, I am sure, would strike the objective viewer as inferior on account of their unseemly demonstrativeness. (Stevens in Kazuo Ishiguro, The Remains of the Day, 1989) The gender of the English novel. Novel of manners, novel of sensibility Oh. Mrs. Armitage did wonders with that word. Only an English person could have appreciated it completely. Well, perhaps anAmerican if he had lived in London ever since the war. (K. Amis: Difficulties with Girls) Flaubert: the unadorned precision of the realist style could be achieved only with masculine, not feminine, phrases John Fowles: If the novel must be written on a few inches of ivory, we are not to be beaten in England. This palladium still lies in a sacred triangle, among hatred of excess, respect for the past, and good taste Domestic novel: Ivy Compton-Burnett

It is unusual to have all ones experience under one roof. And I have really had none outside it. I cannot imagine anything happening to me anywhere else, or anything happening to me at all. Not that I mean anything; I do not much like things to happen, or I should not much like it. (Ivy Compton-Burnett: Manservant and Maidservant, 1947) Novel of manners: (Jane Austen), P. G. Wodehouse, Agatha Christie, Ronald Firbank, Nancy Mitford, Angela Thirkell, Barbara Pym, Margaret Drabble, Hilary Mantel (Meera Syal, Zadie Smith) Moving is such a business, isnt it? It seems to take so long to get everything straight. Some essential thing like a tea-pot or a frying-pan is always lost . . . Platitudes flowed easily from me, perhaps because, with my parochial experience, I know myself to be capable of dealing with most of the stock situations or even the great moments of life birth, marriage, death, the successful jumble sale, the garden fte spoilt by bad weather . . . I wondered that she should waste so much energy fighting over a little matter like wearing hats in chapel, but then I told myself that, after all, life was like that for most of us the small unpleasantnesses rather than the great tragedies; the little useless longings rather than the great renunciations and dramatic love affairs of history or fiction. (Barbara Pym: Excellent Women, 1952; Mildred Lathbury) Margaret Drabble: The Millstone (1965) Novel of sensibility: (Henry James), Elizabeth Bowen, Rosamond Lehmann, L. P. Hartley, Henry Green, Elizabeth Taylor, Elizabeth Jane Howard, Eva Figes, Elaine Feinstein, Anita Brookner, Salley Vickers Rosamond Lehmann: The Echoing Grove (1953) I want to tell you I saw your father quite a short while before he died. We talked for a long while not about the War but about really important things people, human relationships, personal feelings, which he understood about better than most people. (Dinah and Madelaine Burkett, Rickie Masters) Elizabeth Bowen: The Heat of the Day (1949) His [Harrisons] concentration on her was made more oppressive by his failure to have or let her give him any possible place in the human scene. By the rules of fiction, with which life to be credible must comply, he was as a character impossible each time they met, for instance, he showed no shred or trace of having been continuous since they last met. (Stella, Robert, Mr. Harrison) Elizabeth Taylor: A Wreath of Roses (1949) Trying to check life itself, she thought, to make some of the hurrying everyday things immortal, to paint the everyday things with tenderness and intimacy the dirty caf with its pock-marked mirrors as if they had been shot at, its curly hat-stands, its stained marble under the yellow light; wet pavements; an old woman yawning. With tenderness and intimacy. With sentimentality, too, she wondered. For was I not guilty of making ugliness charming? An English sadness like a veil over all I painted, until it became ladylike and nostalgic, governessy, utterly lacking in ferocity, brutality, violence. Whereas in the centre of the earth, in the heart of life, in the core of even everyday things is there not violence, with flames wheeling, turmoil, pain, chaos? Her paintings this year, she knew, were four utter failures to express her new feelings, her rejection of prettiness, her tearing-down of the veils of sadness, of charm. She had become abstract, incoherent, lost.

 Life persists in the vulnerable, the sensitive, she said. They carry it on. The invulnerable, the too-heavily armoured perish. Fearful, ill-adapted, cumbersome, impersonal. Dinosaurs and men in tanks. But the stream of life flows differently, through the unarmed, the emorional, the highly personal. . . (Richard Elton, Camilla, Frances) Elizabeth Taylor, Palladian, 1946 Cassandra, with all her novel-reading, could be sure of experiencing the proper emotions, standing in her bedroom for the last time and looking from the bare windows to the unfaded oblong of wall-paper where The Meeting of Dante and Beatrice in sepia had hung for thirteen years above the mantelpiece Anita Brookner: Hotel du Lac (1984). Edith Hope (Vanessa Wilde), Mr. Neville, Geoffrey Long, David Simmonds For they were reasonable people, and no one was to be hurt, not even with words. Above all, not with words. My idea of absolute happiness is to sit in a hot garden all day, reading, or writing, utterly safe in the knowledge that the person I love will come home to me in the evening. I am not a romantic. I am a domestic animal. I do not sigh and yearn for extravagant displays of passion, for the grand affair, the world well lost for love. I know all that, and know that it leaves you lonely. No, what I crave is the simplicity of routine. An evening walk,, arm in arm, in fine weather. A game of cards. Time for idle talk. Preparing a meal together. Novel sequences (C. P. Snow: Brothers and Strangers (11 vols, 1940-72), Doris Lessing: The Children of Violence (5 vols, 1952-69), Richard Hughes, Simon Raven Anthony Powell: A Dance to the Music of Time (1951-1975, 12 vols.) Nicholas Jenkins, Charles Stringham, Kenneth Widmerpool The lack of demur on her part seemed quite in accordance with the almost somnambulistic force that had brought me into that place, and also with the torpid, dreamlike atmosphere of the afternoon. At least such protests as she put forward were of so formal and artificial an order that they increased, rather than diminished, the impression that a long-established rite was to be enacted, among Staffordshire figures and papier-mache trays, with the compelling, dteached formality of a nightmare. I was conscious of Gypsy changing her individuality, though at the same time retaining her familiar form; this illusion almost conveying the extraordinary impression that there were really three of us perhaps even four, because I was aware that alteration had taken place within myself too of whom the pair of active participants had been, as it were, projected from out of our normally unrelated selves. ... In spite of the apparently irresistible nature of the circumstances, when regarded through the larger perspectives that seemed, on reflection, to prevail that is to say of a general subordination to an intricate design of cause and effect I could not help admitting, in due course, the awareness of a sense of inadequacy. There was no specific suggestion that anything had, as it might be said, gone wrong; it was merely that any wish to remain any longer present in those surroundings had suddenly and violently decreased, if not disappeared entirely. This feeling was, in its way, a shock. Gypsy, for her part, appeared far less impressed than myself by consciousness of anything, even relatively momentous, having occurred. In fact, after the brief interval of

extreme animation, her subsequent indifference, which might almost have been called torpid, was, so it seemd to me, remarkable. (A Buyers Market) ** The men at work at the corner of the street had made a kind of camp for themselves, where, marked out by tripods hung with red hurricane-lamps, an abyss in the road led down to a network of subterranean drain-pipes. Gathered round the bucket of coke that burned in front of the shelter, several figures were swinging arms against bodies and rubbing hands together with large, pantomimic gestures: like comedians giving formal expression to the concept of extreme cold. One of them, a spare fellow in blue overalls, taller than the rest, with a jocular demeanour and long, pointed nose like that of a Shakespearean clown, suddenly stepped forward, and as if performing a rite, cast some substance apparently the remains of two kippers, loosely wrapped in newspaper on the bright coals of the fire, causing flames to leap fiercely upward, smoke curling about in eddies of the north-east wind. As the dark fumes floated above the houses, snow began to fall gently from a dull sky, each flake giving a small hiss as it reached the bucket. The flames died down again; and the men, as if required observances were for the moment at an end, all turned away from the fire, lowering themselves laboriously into the pit, or withdrawing to the shadoes of their tarpaulin shelter. The gray, undecided flakes continued to come down, though not heavily, while a harsh odour, bitter and gaseous, penetrated the air. The day was drawing in. For some reason, the sight of snow descending on fire always makes me think of the ancient world legionaries in sheepskin warming themselves at a brazier: mountain altars where offerings glow between wintry pillars; centaurs with torches cantering beside a frozen sea scattered, unco-ordinated shapes from a fabulous past, infinitely removed from life; and yet bringing with them memories of things real and imagined. These classical projections, and something in the physical attitudes of the men themselves as they turned from the fire, suddenly suggested Poussins scene in which the Seasons, hand in hand and facing outwards, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure: stepping slowly, methodically, sometimes a trifle awkwardly, in evolutions that take recognizable shape: or breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance. (A Question of Upbringing) ** And then, all at once, Jimmy Stripling came into sight again. He was stepping softly, and carried in his hand a small green chamber-pot. As he advanced once more along the passage, I realised with a start that Stripling proposed to substitute this object for the top-hat in Farebrothers leater hat-box. My immediate thought was thatbrelative size might prevent this plan from being put successfully into execution; though I had not examined the inside of the hat-box, obviously itself larger than normal (no doubt built to house more commodious hats of an earlier generation), the cardboard interior of which might have been removed to make room for odds and ends. Such economy of space would not have been out of keeping with the character of its owner. In any case it was a point upon which Stripling had evidently satisfied himself, because the slight smile on his face indicated that he was absolutely certain of his ground. No doubt to make an even more entertaining spectacle of what he was about to do, he

shifted the china receptacle from the handle by which he was carrying it, placing it between his two hands, holding it high in front of him, as if it were a sacrificial urn. Seeing it in this position, I changed my mind about its volume, deciding that it could indeed be contained in the hat-box. (Question of Upbringing) ** Smith, is there any champagne left in the cellar? Erridges voice admitted the exceptional nature of the inquiry. He asked almost apologetically. Even so, the shock was terrific. Smith started so violently that the coffee cups rattled on the tray. It was evident that we were now concerned with some far more serious matter than the earlier pursuit of sherry. Champagne, mlord? Have we got any? One bottle would do. Even a half-bottle. Smiths face puckered, as if manfully attempting to force his mind to grapple with a mathematical or philosophical problem of extraordinary complexity. His bearing suggested that he had certainly heard the word champagne used, if only in some distant, outlandish context; that devotion to his master alone gave him some apprehension of what this question these raving, alost might mean. Nothing good could come out of it. This was a disastrous way to talk. That was his unspoken message so far as champagne was concerned. (At Lady Mollys, 1957) The war novel and war films Films: Millions Like Us (Frank Launder, Sidney Gilliat, 1943) Celia Crowson, her sister Phyllis; This Happy Breed (David Lean, written by Noel Coward, 1944) the Gibbons and Mitchell families Henry V (Laurence Olivier, 1945); Bridge on the River Kwai (1957, David Lean) Blitz novels: Henry Green: Caught; E. Bowen: The Heat of the Day Evelyn Waugh: the Sword of Honour trilogy (1960s); the third trilogy of Powells sequence Dads Army (TV comedy series) AFTER THE WAR: nostalgia and dystopia Nostalgia (Jimmy Porter and Colonel Redfern); Teddy boys; the country house Evelyn Waugh: Brideshead Revisited (1945); Charles Ryder (architectural painter) and the Marchmain family Dystopia (its various and disparate sources) Angus Wilson: The Old Men at the Zoo (1961); L. P. Hartley: Facial Justice (1960); Kingsley Amis: Russian Hide-and-Seek (1980); John Wyndham: The Day of the Triffids (1958); A. Huxley: Ape and Essence (1949); John Wyndham: The Chrysalids (1955); J. G. Ballard: The Drowned World (1962); The Draught (1965); The Crystal World (1966); Doris Lessing: The Four-Gated City (1969); The Memoirs of a Survivor (1974); Martin Amis: Einsteins Monsters (1987) Anthony Burgess: A Clockwork Orange (1962); Alex; Ludovico technique G. Orwell: Nineteen Eighty-Four (1948) The crisis and critique of liberal humanism

Burgess (Malayan Trilogy), J. G. Farrell (Empire trilogy), Paul Scotts Raj Quartet, Malcolm Bradburys novels (Eating People Is Wrong), Iris Murdoch, William Golding, Byatt, etc. John Wyndham: The Midwich Cuckoos the condition of England novel (Middlemarch, North and South) She aspired to a more comprehensive vision. She aspired to make connections. sometimes she had a sense that such interlockings were part of a vaster network, that there was a pattern, if only one could discern it, a pattern that linked these semidetached houses in Wamley with those of Leeds (Margaret Drabble, The Radiant Way 72) Angus Wilson: Anglo-Saxon Attitudes (1956) (Gerald Middleton, Professor and Gilbert Stokesay, Dollie) The Middle Age of Mrs. Eliot (1958) (Meg Eliot) The Old Men at the Zoo (1961) No Laughing Matter (1967) (the Matthews family) As if by Magic (1973) (Hamo Langmuir, Alexandra Grant) Other postwar condition of England novels: A. S. Byatts trilogy (Still Life [1978]; The Virgin in the Garden [1985]; Babel Tower [1996]); Margaret Drabble: The Radiant Way (1987); David Lodge: Nice Work (1988); Jonathan Coe: What a Carve Up! (1994) The Fifties novel (the angries + other types of realist fiction) Empiricism, Little Englandism, anti-Modernism, philistinism, realism Ian Fleming: Casino Royale (1953, the first James Bond novel) Movement poetry, Angry Young Men, kitchen-sink drama Colin Wilson: The Outsider (1956) Philip Larkin: Jill (1946); William Cooper: Scenes from Provincial Life (1950) Kingsley Amis: Lucky Jim (1954, Jim Dixon, Prof. Welch); Ending Up (1974) [Dixon] pretended to himself that hed pick up his professor round the waist, squeexe the furry grey-blue waistcoat against him to expel the breath, run heavily with him up the steps, along the corridor to the Staff Cloakroom, and plunge the too-small feet in their capless shoes into a lavatory basin, pulling the plug once, twice, and again, stuffing his mouth with toilet-paper. The one indispensable answer to an environment bristling with people and things one thought were bad was to go on finding out new ways in which one could think they were bad. The reason why Prometheus couldnt get away from his vulture was that he was keen on it, and not the other way round there was no end to the ways in which nice things are nicer than nasty ones [Professor Welchs] clay-like features changed inefinably as his attention, like a squadron of slow old battleships, began wheeling to face this new phenomenon, and in a moment or two he was able to say: Margaret Kingsley Amis: Jakes Thing (1978): In that moment [Jake] saw the wold in its true light, as a place where nothing had ever been any good and nothing of significance done: no art worth a second look, no philosophy of the slightest appositeness, no law but served the state, no history that gave any inkling of how it had been and what happened.

not long afterwards he was just wondering whether he could possibly feel worse, given present circumstances, in other words not given epilepsy or impending execution, when he put his mind at rest about that by starting to feel not anly worse, but worse and worse John Wain: Hurry On Down (1953, Charles Lumley); John Braine: Room at the Top (1957, Joe Lampton, Alice Aisgill, Susan Brown); Keith Waterhouse: Billy Liar (1959) Working-class fiction. the rise of the New Left (Richard Hoggart, Raymond Williams etc.) Alan Sillitoe: The Loneliness of the Long-Distance Runner (1959)Saturday Night and Sunday Morning (1958, Arthur Seaton); No place existed in all the world that could be called safe, and he knew for the first time in his life that there never had been such a thing as safety. Stan Barstow: A Kind of Loving (1960); David Storey: This Sporting Life (1960, Arthur Machin); Radcliffe (1963); Saville (1976) Campus novel: Malcolm Bradbury: Eating People Is Wrong (1959), The History Man (1975); David Lodge: Changing Places (1975) Film in the post-war decades (1) realism with expressionist touches David Lean: Great Expectations (1946); Oliver Twist (1948) Roy Ward Baker: The October Man (1947); John Boulting: Brighton Rock (1947) David Lean: Brief Encounter (1945) Laura and Fred Jesson; Dr. Alex Harvey (actors: Celia Johnson and Trevor Howard) (2) Expressionism Carol Reed: The Third Man (1949) Rollo Martins (Buck Dexter), Harry Lime, Anna Schmidt Powell and Pressburger: The Red Shoes (1948) (Vicky and Julian, the Lermontov ballet); Black Narcissus (1947); Peeping Tom (1960) (3) Ealing comedies Passport to Pimlico (Henry Cornelius, 1949) The Titfield Thunderbolt Man in the White Suit (Alexander Mackendrick, 1951) the Birnley textile mill; Sidney Stratton, Bertha, Daphne Birnley Norman Wisdom comedies (dir. John Paddy Carstairs): Man of the Moment (1955); Trouble in Store (1953); One Good Turn (1955) Whisky Galore! (Mackendrick, 1949) Im All Right, Jack (John Boulting, 1959); Bertram Tracepurcel, Sidney Cox; Stanley Windrush; Fred Kite (played by Peter Sellers) (4) Hammer horrors (The Quatermass Experiment, Val Guest, 1955) New Wave cinema (1959-1963) Sources: 50s literature and the Free Cinema movement (run by the British Film Institute, Lindsay Anderson, Karel Reisz, Tony Richardson) Woodfall Film (Osborne, T. Richardson, and Harry Saltzmann) Room at the Top (Jack Clayton, 1959); Look Back in Anger (Tony Richardson, 1959); Saturday Night and Sunday Morning (Karel Reisz, 1960) A Taste of Honey (Richardson, 1961, from the play by Shelagh Delaney); A Kind of Loving (John

Schlesinger, 1962); The Loneliness of the Long-Distance Runner (Tony Richardson, 1962); This Sporting Life (Lindsay Anderson, 1963)

Late modernism (E. Bowen, L. P. Hartley, Henry Green, Graham Greene, A. Powell etc.) More experimental: Beckett, Lowry, Durrell, Wyndham Lewis Samuel Beckett: Molloy, Malone Dies, The Unnameable (1950s) when the innumerable attitudes adopted unthinkingly by the normal man all are precluded but two or three, then these are enhanced. Yes, when you can neither stand nor sit with comfort, you take refuge in the horizontal, like a child in its mothers lap. You explore it as never before and find it possessed of unsuspected delights. In short it becomes infinite. Such are the advantages of local and painless paralysis. And it would not surprise me if the great classical paralyses were to offer analogous and perhaps even still more unspeakable satisfactions. To be literally incapable of motion at last, that must be something! My mind swoons when I think of it. And mute into the bargain! And perhaps as deaf as a post! And who knows, as blind as a bat! And as likely as not your memory a blank! Yes, even then, when already all was fading, waves and particles, there could be no things but nameless things, no names but thingless names, I say that now, but after all what do I know now about then, now when the icy words hail down upon me, the icy meanings, and the world dies too, foully named. All I know is what the words know, and the dead things. Malcolm Lowry: Under the Volcano (1947; the Consul [Geoffrey Firmin], his wife Yvonne; the barranca, Parin, el Farolito) Lawrence Durrell: Alexandria Quartet (Justine, Balthazar, Mountolive, Clea, 195760). L. Darley, Ludwig Pursewarden POSTMODERN FICTION (experimental, (neo)avantgarde, nouveau roman, metafiction, surfiction, fabulation etc.) Postmodernism: 1. technique/style (e.g. in architecture), 2. philosophy (deconstruction, poststructuralism, Derrida, Deleuze, late Barthes, Lyotard, Rorty) 3. condition, episteme, age (Fredric Jameson: pm late capitalism) First canon (1960s and 70s, France, US): experimental, avantgarde, metafiction, self-reflexiveness (Alain Robbe-Grillet, John Barth, Sukenick, etc.) Second canon (from 1980s, Britain, Latin-America, Canada, multicultural lit.): historiographic metafiction, second-wave feminism and postfeminism (Rushdie, Angela Carter) metafiction, self-reflexiveness; baring the artifice (Pompidou centre); fabulation (lang. creates the world) First canon (1960s): avantgarde component B. S. Johnson (Albert Angelo, The Unfortunates, House Mother Normal, Trawl), Christine Brooke-Rose (Between, Thru, Such, Xorandor), Ann Quin (Berg, Three, Passages), Alan Burns (Babel, Dreamerika, The Angry Brigade), Julian Mitchell (The Undiscovered Country), Andrew Sinclair (Gog), Brigid Brophy (In Transit)

Johnson: Nathalie Sarraute once described literature as a relay race, the baton of innovation passing from one generation to another. The vast majority of British novelists has dropped the baton, stood still, turned back, or not even realised that there is a race. Literary forms do become exhausted, clapped out. The novelist cannot legitimately or successfully embody present-day reality in exhausted forms. from Albert Angelo: fuck all this lying look what im really trying to write about is writing not all this stuff about architecture trying to say something about writing about my writing im my hero though what a useless appellation my first character then im trying to say something about me through him albert an architect when whats the point in covering up covering over pretending pretending I can say anything through him that is anything that I would be interested in saying so an almighty aposiopesis Im trying to say something not tell a story telling stories is telling lies and I want to tell the truth about me about my experience about my truth about my truth to reality about sitting here writing looking out across Claremont Square trying to say something about the writing A page is an area on which I may place any signs I consider to communicate most nearly what I have to convey: therefore I employ, within the pocket of my publisher and the patience of my printer, typographical techniques beyond the arbitrary and constricting limits of the conventional novel. To dismiss such techniques as gimmicks, or to refuse to take them seriously, is crassly to miss the point. Devices: typography, structural disintegration, fragmentation, shuffle novel, cut-up novel, aleatory fiction, musical structure, game structure, dictionary novels Intertextuality and metafiction - Two aspects: 1. playful, eclectic playing with all styles (pastiche, retro) (Fowles: FLW, Byatt: Possession); recreating lost books (Robert Nye: The Memoirs of Lord Byron; Peter Ackroyd: The Last Testament of Oscar Wilde) 2. lit. of exhaustion; Knstlerromane about writers blocks (Spark: The Comforters; Lessing: The Golden Notebook; Burgess: Enderby; Murdoch: The Black Prince); PM: the biographer, philologist, critic, librarian as hero (Nabokov: Pale Fire, Calvino: If on a Winters Night a Traveller; Byatt: The Biographers Tale) Julian Barnes: Flauberts Parrot (1984) Geoffrey Braithwaite, his wife Ellen; Charles Bovary (Barnes: Metroland; England, England; Talking It Over; Love Etc.) Peter Ackroyd: Hawksmoor (1985) Nicholas Hawksmoor, N. Dyer Ackroyd: Chatterton, English Music, First Light; palimpsest, ventriloquism A. S. Byatt: Possession (1990). Roland Mitchell and Maud Bailey, Randolph Henry Ash and Christable LaMotte The second pm canon: historiographic metafiction (or pm. historical fiction) language as discourse (M. Foucault); self-reflexiveness: aesthetic cultural, political, ideological (presuppositions built in language: e.g. race, gender) + 1980s (Thatcherism) political agenda: postcolonial (rethinking the British Empire), feminist, gay (Alan Hollinghurst, Paul Bailey, Paul Golding) subversion, transgression in/through language: rewriting, revision History vs. fiction: facts vs. lies? theory of historiography (Foucault, Hayden White [history as narrative], Carlo Ginzburg, Ladurie)

1. Epistemology and representation (Ranke: wie es eigentlich gewesen ist): History as discourse (text) vs. history as traumatic reality; the problem of representing history J. G. Farrell: Troubles (1970); Major Brendan Archer, Majestic Hotel Pat Barker: Regeneration trilogy (Regeneration, The Eye in the Door, The Ghost Road, early 1990s); W. H. R Rivers, psychoanalyst and anthropologist) Holocaust fiction (esp. from the 1980s): the dificulty of imagining the real (Adorno: no poetry after Auschwitz) Martin Amis: Times Arrow (1991); Elaine Feinstein: The Border (1984); J. G. Ballard: Empire of the Sun (1984) History as trauma. D. M. Thomas: The White Hotel (1981; the massacre of Baby Yar; Lisa Erdman) History as discourse: John Fowles: The French Lieutenants Woman (1968); set in Lyme Regis; Charles Smithson, Sarah Woodruff, Ernestina Freeman Ernestina had exactly the right face for her age; that is, small-chinned, oval, delicate as a violet. You may still see it in the drawings of the great illustrators of the time Her grey eyes and the paleness of her skin only enhanced the delicacy of the rest. At first meetings she could cast down her eyes very prettily, as if she might faint should any gentleman dare to address her. But there was a minute tilt at the corner of her eyelids, and a corresponding tilt at the corner of her lips extend the same to comparison, as faint as the fragrance of February violets that denied, very subtly but quite unmistakably, her apparent total obeisance to the great god Man. An orthodox victorian would perhaps have mistrusted that imperceptible hint of Becky Sharp; but to a man like Charles she proved irresistible. She was so very nearly one of the prim little moppets, the Georginas, Victorias, Albertinas, Matildas and the rest who sat in their closely guarded dozens at every ball; yet not quite Victorian pastiche (Charles Pallisers Quincunx, Peter Ackroyd, J. G. Farrells The Siege of Krishnapur; Byatts Angels and Insects and Possession, Sarah Waterss Affinity, Matthew Kneale (Sweet Thames, English Passengers); Goldings Sea Trilogy; Philip Hensher: The Mulberry Empire, Beryl Bainbridge: Master Georgie, Sarah Waterss Affinity) 2. Hermeneutics (the relationship between the historian and the past; the stake of talking about the past) a, The rhetoric of history (the presence of the teller in the tales about history) the role of history in the present, in cultural memory; Andrew Sinclair: Gog (1969) History and memory, history as legacy: family sagas, genealogical narratives, linking personal and public memory Graham Swift: Waterland (1983). The Crick and the Atkinson families; Thomas Crick; Mary Metcalf, Dick Crick Peter Ackroyd, Iain Sinclair (Downriver), Adam Thorpe (Ulverton) b, The politics of history: history involves power; muted histories (of women, of the colonized); history and history pm hist. fiction: retelling, revision; apocryphal narratives (e.g. Julian Barnes: The History of the World in 10 and Chapters) little, blatantly untrue alternative versions, mixing facts with myth, fairy tale, fantasy; Robert Nye: Falstaff (1978), Faust (1980) : tall tales Jeanette Winterson: The Passion (1987); Henri and Villanelle. Im telling you stories. Trust me. Sexing the Cherry (the Dog Woman, Jordan, the twelve dancing princesses)

alternative grand narratives of history. Lawrence Norfolk: Lemprieres Dictonary (1991); paranoia as a model of historical experience (Pynchon, Tournier, Rushdie) peripheral, marginal events and places; William Boyd: An Ice-Cream War (1982); Adam Thorpe: Ulverton (1992); Farrell, Barker, Ballard, Bruce Chatwin: On the Black Hill (1982) Kazuo Ishiguro: The Remains of the Day (1989) POSTCOLONIAL FICTION Kinds of postcolonial fiction postcol. historiographic metafiction diaspora fiction 1. Postcolonial historiographic metafiction: Rewriting the colonial age, the legacy of the Empire (nostalgia and guilt; heritage) Recurrent issues: the slave trade: George Lamming: Natives of My Person (1972); Barry Unsworth: Sacred Hunger (1992), Caryl Phillips: Cambridge (1991) and The Nature of Blood (1997); Marina Warner: Indigo (1992) Colonial ideologies (the new lands as utopias) e.g. William Golding: Sea trilogy; Jane Rogers: Promised Lands (1995); Matthew Kneale: English Passengers (2000) Genocide in Tasmania (Robert Edric: Elysium, 1995) Colonial wars: Crimean war (Beryl Bainbridge: Master Georgie); the Afghan wars (Philip Hensher: The Mulberry Empire) Rethinking the Raj. Paul Scotts Raj Quartet (The Jewel in the Crown, The Day of the Scorpion, The Towers of Silence, The Division of the Spoils, 1966-1975); Mayapore, the Bibighar Gardens; Daphne Manners, Hari Kumar, Ronald Merrick J. G. Farrell: The Siege of Krishnapur (1973; Victorian pastiche). 1857, Indian Mutiny (sepoy soldiers); the Collector; the Magistrate, the Padre, George Fleury The progress of the human race, resulting from the labour of all men, ought to be the final object of the exertion of each individual Every invention is a prayer to God Fleury: civilization must be more than the fashions and customs of one country imported into another. It must be a superior view of mankind He had never seen Englishmen get themselves into such a state before; they looked more like untouchables Ruth Prawer Jhabvala: Heat and Dust (1975) (Olivia Rivers) Timothy Mo: An Insular Possession (1986); the first opium war (1839-41), the establishment of Hong Kong Interrogatory: 1. How tall is Jesus? 2. How long are his mustachios? 3. Ditto his fingernails? 4. How rapidly can Jesus indite verse? 5. Of what rank are his brothers? 6. How was it filial to leave his family and repudiate his father by saying that he was the Son of the Emperor? Rewriting colonial texts (pastiche; apocrypha) Robinson Crusoe Coetzee: Foe; Michel Tournier: Friday; Heart of Darkness Naipaul: A Bend in the River; Robert Edric: The Book of the Heathen (2000); A. Gurnah: Paradise (1994); The Tempest Barry Unsworth: Sacred Hunger (1992); Marina Warner: Indigo (1992); Sycorax, Dul (Caliban), Ariel; Miranda and Xanthe Jane Eyre Jean Rhys: Wide Sargasso Sea (1966) Hari Kunzru: The Impressionist (2002); Pran Nath Razdan, Rukshana, Robert/Chandra/Pretty Bobby, Jonathan Bridgeman

Shashi Tharoor: The Great Indian Novel (1989) Salman Rushdie: Midnights Children (1981); Saleem Sinai, Padma I was born in the city of Bombay once upon a time I must work fast, faster than Scheherezade, if I am to end up meaning yes, meaning something. I have been a swallower of lives; and to know me, just the one of me, youll have to swallow the lot as well. Consumed multitudes are jostling and shoving inside me. Who what am I? My answer: I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine. I was already beginning to take my place at the centre of the universe; and by the time I had finished, I would give meaning to it all. Rushdies other novels: Shame, Haroun and the Sea of Stories, The Moors Last Sigh The Satanic Verses (1989). Gibreel Farishta and Saladdin Chamcha; Jahilia, Mahound magic realism -- Ben Okri: The Famished Road, 1991 (Azaro); Wilson Harris: The Guyana Quartet; Pauline Melville: The Ventriloquists Tale 2. Diaspora fiction (and film) GB: mass immigration (1948: the arrival of the Empire Windrush with 500 Jamaicans), race riots (Notting Hill) Caribbean (Trinidad, Guyana, Jamaica, etc.): George Lamming, Sam Selvon, V.S. Naipaul, Wilson Harris, David Dabydeen, Caryl Phillips, Pauline Melville West-Africa (Ghana, Nigeria) Buchi Emecheta, Ben Okri East-Africa (Kenya, Tanzania) Abdulrazak Gurnah South African refugees: Andr Brink, J. M. Coetzee South-East Asia (India, Pakistan, Bangladesh, Sri Lanka): Salman Rushdie, Hanif Kureishi, Adam Zameenzad, Amitav Ghosh, Romesh Gunesekera (Sri Lanka), Zadie Smith, Meera Syal, Sunetra Gupta, Monica Ali (Bangladesh), Nirpal Singh Dhaliwal + Anglo-Indian writers (R. K. Narayan, Anita Desai, Arundhati Roy,) and Anglophone writers in other countries (Nigeria, South Africa, the Caribbeans etc.) Others: Timothy Mo, Kazuo Ishiguro Reversals of the Heart of Darkness initiation story Caribbean diaspora: Jean Rhys: Voyage in the Dark (1934); George Lamming: The Emigrants (1954); Sam Selvon: The Lonely Londoners (1956); George Lamming: In the Castle of My Skin (1953); Victor Headley: Yardie (1992) V. S. Naipaul: The Mystic Masseur (1957), A House for Mr. Biswas (1961); The Mimic Men (1967); Guerrillas (1975); In a Free State (1971); A Bend in the River (1979); The Enigma of Arrival (1987) The Mimic Men: Ralph Singh Caryl Phillips: The Final Passage (1985) and Crossing the River (1993) Timothy Mo: Sour Sweet (1982); the Chen family (Ah Chen and Lily) Romesh Gunesekera: Reef (1994); Andrea Levy: Small Island (2004) Hanif Kureishi: The Buddha of Suburbia (1990). My name is Karim Amir, and I am an Englishman born and bred, almost. I am often considered to be a funny kind of Englishman, a new breed as it were, having emerged from two old histories. Female postcolonial diasporic fiction Buchi Emecheta: Second-Class Citizen (1974); Zadie Smith: White Teeth (2000); Archie Jones and Irie; Samad and Alsana Iqbal, Magid and Millat; the Chalfens

You go back and back and back and its still easier to find the right Hoover bag than to find one pure person, one pure faith, on the globe. Do you think anybodys English? Really English? Its a fairy-tale. Meera Syal: Anita and Me (1996); Sunetra Gupta: The Glassblowers Breath (1993); Monica Ali: Brick Lane (2003; Nazneen, Chanu) It is the British, the white British, who have to learn that being British isnt what it was. Now it is a more complex thing, involving new elements. So there must be a fresh way of seeing Britain and the choices it faces; and a new way of being British after all this time. (Kureishi: The Rainbow Sign) The postcolonial as a topic is everywhere: Ian McEwan: The Innocent (1990); Bruce Chatwin: On the Black Hill (1982) Feminist fiction female writers (Iris Murdoch, Beryl Bainbridge) womens writing: popular: love romance (Danielle Steel, Mills and Boon fiction) serious: novel of sensibility, domestic fiction (female issues, sensibility) feminine writing (criture fminine) feminist writing: political category (e.g. New Woman) First wave feminism, retrenchment, Second wave feminism Dilemmas of feminist fiction I. Realism or experiment? tampering with he expected sentence (Woolf) sexuality and textuality; writing of the female body the psychological sentence of the feminine gender (Woolf) Doris Lessing (1919-): The Golden Notebook (1962); Anna Wulf II. feminism and/or postmodernism? female identity, subjectivity: explorations of self-alienation, disempowerment, problems of embodiment (selfloathing) Janice Galloway: The Trick Is to Keep Breathing ; Jenny Diski: Nothing Natural; Rainforest; Monkeys Uncle or: alternative, transgressive subjectivities, monstrous, chtonic (the Dog Woman in Wintersons Sexing the Cherry; the vampire figure in Emma Tennants The Bad Sister; Fevvers) or: subjectivity as masquerade, performance Kinds of feminist fiction: exploration of contemporary issues (Margaret Drabble, Margaret Forster etc.) historiographic metafiction (revision of patriarchal myths). Victorian pastiche Margaret Forster: Ladys Maid (1990) (Elizabeth Wilson, Elizabeth Barrett) Julie Myerson: Laura Blundy (2000) Sarah Waters: Affinity (1999) (Margaret Prior, Selina Dawes) Jane Rogers: Mr. Wroes Virgins (1991) (John Wroe, Christian Israelites; Leah, Joanna, Hannah, Martha) Kate Atkinson: Behind the Scenes in the Museum (1995) (Ruby Lennox) Revisions, rewritings of texts, myths, genres

Michle Roberts: The Wild Sister (The Secret Gospel of Mary Magdalene)(1984) Jenny Diski: Only Human (2000), After These Things (2004) Emma Tennant: Sisters and Strangers (1990), Tess, Pemberley, The Two Women of London, Faustine; Marina Warner: Indigo, The Leto Bundle; A. S. Byatt: Possession, Morpho Eugenia (1992) - the Alabaster family, Mr. Adamson, Miss Crompton Turning to non-realist modes, popular plots (fantasy, romance, fairy tale, gothic, sf, detective story); feminist detective story (Sara Paretsky, Joan Smiths Loretta Lawson series) Lucy Ellmann: Doctors and Nurses (2006) (Jen the nurse) female gothic (Susan Hill: The Woman in Black; Iris Murdoch: The Unicorn; Emma Tennant; Fay Weldon, Doris Lessing: The Fifth Child; Angela Carter; Margaret Atwood, Alasdair Grays Poor Things) Fay Weldon: The Life and Loves of a She Devil (1983) Ruth Patchett and Bobbo; Mary Fisher I dont think youre a woman at all. I think wha you are is a she devil Angela Carter: The Magic Toyshop (1967). Melanie, Uncle Philip; The Infernal Desire Machines of Dr. Hoffman (1972); The Bloody Chamber (1979); Nights at the Circus (1984; Fevvers, Jack Walser); Wise Children (1991; Nora and Dora Chance, Melchior Hazard) Post-feminism; Girl Power, single discourse; Lad Lit and Chick Lit Masculinity as a problem. Football fiction (Nick Hornby: Fever Pitch; John King: The Football Factory, England Away; Kevin Sampson: Awaydays). Hornbys High Fidelity (1995) and Helen Fieldings Bridget Jones (1996) (new confessional, lifestyle fiction) 90s fiction and films of masculine anxiety: High Fidelity + working class movies: Peter Cattaneos The Full Monty (Gaz, Dave, Horse, Lomper and Guy); David Hermans Brassed Off; Ken Loachs My Name Is Joe; John Godbers UpnUnder; Stephen Daldrys Billy Eliot Gay fiction: Angus Wilson, Andrew Sinclair Alan Hollinghurst (The SwimmingPool Library, The Line of Beauty); Paul Bailey (Gabriels Lament), AIDS fiction (Edmund White, Adam Mars-Jones) British film: from the 1960s to the 1980s Sixties: swinging sixties Tony Richardson: Tom Jones (1963) Swinging London films: Alfie (Lewis Gilbert, 1966); Darling (John Schlesinger, 1965); Smashing Time (Desmond Davis, 1967); Catch Us If You Can (John Boorman, 1965) the Beatles films (Richard Lester; The Yellow Submarine, Help, A Hard Days Night) James Bond films (Dr. No, 1962) psychedelical film musicals (The Who): Quadrophenia, Tommy (Ken Russell) The Wall (Pink Floyd, dir. Alan Parker) Michelangelo Antonioni (Blow-Up), Roman Polanski (Repulsion), Lindsay Anderson: If (1968) film auteurs in the 60s and 70s: Joseph Losey (Eve, The Go-Between), Nicholas Roeg (Dont Look Now, Bad Timing), Lindsay Anderson (If),

Ken Russell (The Music Lovers, Lisztomania, The Rainbow, Gothic, The Lair of the White Worm) Monty Python films (Monty Python and the Holy Grail, Brians Life (Terry Jones, 1979) Thatcherism : economic principles (entrepreneurial spirit, meritocracy) vs. social ideology [Thatcher(ism) in fiction: Ian McEwan: The Child in Time (1987); Kate Pullinger: When the Monster Dies (1989); Iain Sinclair: Downriver (1991); Hollinghurst: The Line of Beauty (2004); Jonathan Coe: What a Carve Up (1994; Michael Owen and the Winshaw family) Will Self: How the Dead Live; Dorian ] BRITISH FILM IN THE EIGHTIES Anti-Thatcherite film Richard Eyres The Ploughmans Lunch (1983) Lindsay Anderson: Britannia Hospital (1982); Terry Gilliam: Brazil (1985) Ken Loachs films (Kes [1969], Riff-Raff, Carlas Song, My Name Is Joe, Labybird Labybird) Danny Boyles Shallow Grave and Trainspotting; The Kureishi/Frears films (My Beautiful Laundrette, Sammy and Rosie Get Laid); Neil Jordans The Crying Game; Mike Leighs High Hopes (1988); Greenaways The Cook, the Thief ; The breakthrough of British film Art(-house) film in the 1980s 80s: Derek Jarman, Peter Greenaway, Sally Potter (Thriller; Orlando), Terence Davies, Bill Douglas, Neil Jordan Jarman: Jubilee (1978); The Tempest (1979); Angelic Conversations (85); Caravaggio (86); The Last of England (87); War Requiem (89); Edward II (1991) Greenaway: The Draughtsmans Contract (1982); Drowning by Numbers (1988); The Cook, the Thief, His Wife and Her Lover (1989); Prosperos Books; The Pillow Book serial, modular music (John Cage, Michael Nyman) The Cook : (Albert Spica, Georgina, Michael, Richard the chef) references to films (Alain Resnaiss Last Year in Marienbad), to paintings (Franz Hals, Vermeer, Rembrandt) Mike Leigh High Hopes (89); Naked (93); Topsy Turvy; Life Is Sweet; Career Girls; Vera Drake (2004); Secrets and Lies (Maurice and Monica; Cynthia, Roxane and Hortense) Heritage industry (National Heritage Acts, Nat. Her. Memorial Fund, English Heritage, State Dept. of National Heritage); film tourism New Labour: rebranding Britain Heritage film Chariots of Fire; Brideshead Revisited (BBC) Chariots of Fire (Hugh Hudson, 1981); Eric Liddell and Harold Abrahams; Lord (Andrew) Lindsay, Sam Musabini, Sibyl

Blakes Jerusalem He is an Englishman; /He himself has said it/ And its greatly to his credit, / That despite of all temptations /To belong to other nations,/ He remains an Englishman (Gilbert and Sullivan) text for Liddells Paris sermon (from Isaiah): All nations before him are as nothing Merchant Ivory Productions (10 films) (and a host of BBC adaptations: Dickens, Gaskell etc.) James Ivory, Ismail Merchant, Ruth Prawer Jhabvala Forster (Room with a View, Howards End), Austen, James (The Wings of the Dive, The Golden Bowl, The Portrait of a Lady), Hardy; crossover film The French Lieutenants Woman (Karel Reisz, 1981); Henry V (Kenneth Branagh, 1989) Mrs. Brown (John Madden, 1997) Elizabeth (dir. Shekhar Kapur, 1999). Cate Blanchett, Geoffrey Rush Mansfield Park (Patricia Rozema, 1999); Four Weddings and a Funeral (Mike Newell, 1994)