Titlebook: British Experimental Women’s Fiction, 1945—1975; Slipping Through the Andrew Radford,Hannah Van Hove Book 2021 The Editor(s) (if applicable

考古學(xué)

樂章

Experimenting in the Ditch: Buchi Emecheta’s Early Novels of Transformationr autobiographically-inspired debut . (1972) and its prequel . (1974), published in a single volume as . (1983), have been praised especially for their gendered insider’s perspective on the demographic diversification of early post-Windrush Britain. This chapter seeks to contribute to an aesthetic t

溫和女孩

Afterword: I’m a Woman Experimental Writer … Get Me Out of Here! marked resurgence of interest. Looking back from the twenty-first century, Sweeney asks what reasons we can pinpoint for the historical neglect of the authors discussed in this volume and what key factors are at play in “rediscovering” them in the present moment.

修改

Whose Sister? “Convenient Pigeonholes”, Peter Owen and the Publishing of Anna Kavanation that our analysis of this labelling needs to include the role of the publisher too. An examination of the correspondence between Kavan and Peter Owen, her publisher between the late 1950s and her death in 1968, and of Owen’s posthumous publication of Kavan, suggests that it is publishers too which rely on those “convenient pigeonholes”.

GRAVE

No Country for Old Maids? Housing Ivy Compton-Burnett’s Mid-Century Fictiond and Evelyn Waugh.?Radford uses her 1947 novel?.?to scrutinize Compton-Burnett’s distinctive contribution to this “country-house” tradition, especially her satirical debunking of post-war patriarchal values and nostalgic fantasies of Englishness.

NIP

Anna Kavan’s ,: Postwar Experimentalism and the Fiction of the Anthropoceneg how the novel’s temporal perversity and perspective of impossibility enact a similar conceptual experiment, it suggests that . might be Anthropocene fiction not in its midcentury foundations, nor in its representation of climatic change and planetary apocalypse, but in its experimental narrative form.

hauteur

Explosive

“Designing Its Own Shadow”: Ann Quin’s Reiterative Experimental Processesriches our reading of her fiction. Williams shows how Quin’s reiterative processes exemplify genuinely “experimental” post-war fiction, which is interested in . over outcome. In this way, Williams claims, Quin’s playful, complex, frustrating texts make a good case for the energy and value of post-war experimental British fiction by women writers.

podiatrist

離開真充足

Brigid Brophy’s ,, or the Post-war Novel’s Transition from an “Exhausted” to a “Replenished” Formject formation and the ability of art to speak to a changing world. By drawing a parallel with the arguments about the supposed “Exhaustion of literature” made by John Barth in his 1967 and 1980 essays, this chapter argues that . may very well delineate the contours of the postmodern novel ..