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The novel since 1945 491 in recognisably realistic people and places; for example, Ulysses, The Rainbow, Heart of Darkness. In the titles of a number of post-war British novels another trend is discernible. Some titles carry a clearly marked imprint of the speaking voice. The voice may or may not be that of the author, suggesting in turn that the author’s voice may only be one among several voices in the novel and may not necessarily be the most authoritative or the one which offers a secure and stable vantage point. It may not be the singular voice of the moral centre from which the world of the novel can be interpreted. Here are some representative titles from this period: An Awfully Big Adventure (1990) Beryl Bainbridge How Late It Was, How Late (1994) James Kelman Now That You’re Back (1994) A.L. Kennedy Take A Girl Like You (1960) Kingsley Amis You Can’t Do Both (1994) Kingsley Amis Ginger, You’re Barmy (1962) David Lodge How Far Can You Go? (1980) David Lodge Burning Your Boats (1995) Angela Carter A Far Cry From Kensington (1988) Muriel Spark The titles are stylistically marked by features which recur more frequently in spoken than in written discourse. Personal pronouns, in particular, set up a tone of involvement and the use of imperatives and interrogatives establish dialogic interaction. Titles such as these also draw, however, on formulaic, idiomatic phrases ( ‘a far cry from..’; ‘burn your boats’) and everyday spoken lexis (‘barmy’, ‘awfully big’) in ways which suggest a direct and evaluative tone of voice. It is not immediately clear where the voice is coming from and a point of view cannot be easily established. Such a voice is, however, not expected and is perceived by most readers to be deliberately intrusive and unsettling. The terms ‘discourse’ and ‘dialogue’ are regularly used in the literary theoretical writings of the Russian literary critic and theorist Mikhail Bakhtin (1895–1975). For Bakhtin, the novel in its most basic form is characterised by a collage of different styles, voices, and points of view. There is thus no such thing as the language or a unitary style of the novel. In contrast with conventional lyric or epic poetry, the novel is a ‘dialogic’ form and in this respect no one voice can ever be seen
492 The twentieth century: 1945 to the present to prevail, even that of the author. In certain periods in the development of the novel, the author may be seen to have tried to impose a single vision or a particular preoccupation (and the title may reflect this) but the novel as an art-form none the less embraces the different voices and speech styles of many characters and resists singular perspectives. The discourse of the novel, according to Bakhtin, is always contradictory and challenging, and in this respect it is an essentially democratic form, not imposing any single voice or vision. The British post-war, post- Modernist novel has a variety of different titles, including the names of people and places as well as more allusive and symbolic titles; but there is no single discourse of titles and thus the novelistic worlds which are represented are more relativistic, multi-voiced and consistently dialogic. The novels of J.R.R. Tolkien created a fictional world that encompasses mythology, fable, and fantasy – and reached a huge worldwide readership. Tolkien himself was a philologist and professor of mediaeval language and literature, and his fiction contains many influences from that period. His hero Bilbo Baggins is a hobbit whose adventures take him through a range of landscapes and encounters with heroes and villains in a modern epic in the form of a series of novels: The Hobbit (1937), the three volumes of The Lord of the Rings (1954–55), and The Silmarillion (1977). LATER GREENE Graham Greene’s most serious novels are: The Power and the Glory (1940); The Heart of the Matter (1948); The Quiet American (1955) and A Burnt Out Case (1961). Greene initially appeared to regard several of his other novels as less serious since he referred to them as ‘entertainments’. In these novels he uses the popular conventions of the thriller or the spy story. These books include: The Confidential Agent (1939); The Third Man (1950) and Our Man in Havana (1958). Greene later dropped this distinction, realising that the ‘thriller’ could be a ‘serious’ novel. Throughout all his fiction he remained fascinated by people who are capable or incapable of judging between good and evil. His novels are carefully constructed, with powerful plots and a strong sense of place. During the Second World War, Graham Greene had largely remained
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The Routledge History of Literature
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First published 1997 by Routledge 1
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Contents List of illustrations Fore
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Contents ix The Gothic and the subl
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Contents xi THE TWENTIETH CENTURY:
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Illustrations Figure 1 Linguistic b
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xvi Foreword The Routledge History
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xviii Foreword and burlesque and sa
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From the earliest stages, Malcolm B
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Beowulf, the Dane, dear king of his
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6 Old and Middle English 600-1485 T
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8 Old and Middle English 600-1485 t
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10 Old and Middle English 600-1485
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22 Figure 2 The greatest extent of
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The Renaissance 1485-1660
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58 The Renaissance 1485-1660 centur
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60 The Renaissance 1485-1660 would
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62 The Renaissance 1485-1660 were n
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64 The Renaissance 1485-1660 ‘To
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66 The Renaissance 1485-1660 I find
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68 The Renaissance 1485-1660 Mid-su
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70 The Renaissance 1485-1660 and a
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72 The Renaissance 1485-1660 I had
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74 The Renaissance 1485-1660 Faustu
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76 The Renaissance 1485-1660 perfor
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78 The Renaissance 1485-1660 Greek
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80 The Renaissance 1485-1660 47); a
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82 The Renaissance 1485-1660 the Re
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84 The Renaissance 1485-1660 years
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86 The Renaissance 1485-1660 Renais
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88 The Renaissance 1485-1660 terms
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90 The Renaissance 1485-1660 Shakes
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92 The Renaissance 1485-1660 1601 2
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94 The Renaissance 1485-1660 The pu
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96 The Renaissance 1485-1660 Shakes
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98 The Renaissance 1485-1660 most o
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100 The Renaissance 1485-1660 And s
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102 The Renaissance 1485-1660 I all
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104 The Renaissance 1485-1660 In mu
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106 The Renaissance 1485-1660 my he
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108 The Renaissance 1485-1660 Thou
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110 The Renaissance 1485-1660 Trahe
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112 The Renaissance 1485-1660 Old T
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114 The Renaissance 1485-1660 misun
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116 The Renaissance 1485-1660 from
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118 The Renaissance 1485-1660 The t
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120 The Renaissance 1485-1660 Middl
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122 The Renaissance 1485-1660 GIOVA
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124 The Renaissance 1485-1660 SIR B
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126 The Renaissance 1485-1660 The s
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Thy wars brought nothing about; Thy
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Contexts and conditions 131 Sea; no
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Early Milton 133 Revolution was the
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Early Milton 135 good and evil as t
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Early Milton 137 the hero from the
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Restoration drama 139 many lives as
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Restoration drama 141 Revenge! PIER
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Restoration drama 143 One of the fi
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Restoration drama 145 prohibiting
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Restoration drama 147 LOVELESS No,
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Restoration drama 149 PRIM Do they
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Rochester 151 The Theatres Licensin
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Dryden 153 what it saw as the highe
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Dryden 155 his best, and his transl
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Pope 157 POPE True wit is nature to
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Journalism 159 And, spite of pride,
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Scottish Enlightenment, diarists an
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The novel 167 and the social awaren
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The novel 169 Each serial volume of
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The novel 171 paraphrase Pope: what
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The novel 173 polemic comes when he
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The novel 175 That kingdom he hath
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The novel 177 opportunity to set fo
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The novel 179 sentence of death. He
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Criticism 181 to do with that work.
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Johnson 183 (1712). Swift took the
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Johnson 185 There are some hostile
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Sterne, Smollett and Scottish voice
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Drama after 1737 195 MISS HARDCASTL
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Poetry after Pope 197 Thomas Gray
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Poetry after Pope 199 Nor rural sig
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Poetry after Pope 201 but by no mea
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Melancholy, madness and nature 203
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The Gothic and the sublime 209 Burk
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The Gothic and the sublime 211 conc
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The Gothic and the sublime 213 all
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Bliss was it in that dawn to be ali
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Contexts and conditions 219 and mor
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Contexts and conditions 221 economi
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Contexts and conditions 223 past, p
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Blake, Wordsworth and Coleridge 225
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Keats 235 and completing the poetic
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Keats 237 beauty but at the same ti
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Shelley 239 Keats also gives us occ
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Shelley 241 or sail around Venice.
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Byron 243 Each like a corpse within
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Byron 245 What I have done is done;
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Byron 247 Though the night was made
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Romantic prose 249 Bright yellow is
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Romantic prose 251 one of the Immor
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The novel in the Romantic period 25
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Jane Austen 255 the remotest antiqu
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Jane Austen 257 she wrote in her le
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Jane Austen 259 LANGUAGE NOTE Jane
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Scott 261 and scarcely even picture
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Scott 263 She coloured highly, and
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From Gothic to Frankenstein 265 flu
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The Scottish regional novel 267 (18
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The nineteenth century
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272 The nineteenth century of Queen
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274 The nineteenth century Smollett
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276 The nineteenth century Hard Tim
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278 The nineteenth century Podsnap
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280 The nineteenth century income a
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282 The nineteenth century cover su
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284 The nineteenth century in some
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286 The nineteenth century earlier
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288 The nineteenth century the end.
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290 The nineteenth century Charlott
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292 The nineteenth century by Dicke
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294 The nineteenth century the ‘v
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296 The nineteenth century LATE VIC
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298 The nineteenth century fathers
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300 The nineteenth century In his l
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302 The nineteenth century An old w
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304 The nineteenth century is a cla
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306 The nineteenth century there ca
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308 The nineteenth century Renaissa
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310 The nineteenth century of Doria
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312 The nineteenth century Most of
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314 The nineteenth century embellis
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316 The nineteenth century Irish; F
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318 The nineteenth century justifie
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320 The nineteenth century However,
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322 The nineteenth century mode of
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324 The nineteenth century the firs
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326 The nineteenth century Its titl
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328 The nineteenth century also saw
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330 The nineteenth century aware so
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332 The nineteenth century Stitch!
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334 The nineteenth century Her robe
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336 The nineteenth century year as
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338 The nineteenth century twentiet
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340 The nineteenth century But if y
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342 The nineteenth century we can r
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The twentieth century 1900-45
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348 The twentieth century: 1900-45
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Page 461 and 462: 440 The twentieth century: 1900-45
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542 The twentieth century: 1945 to
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544 Timelines 802 Egbert of Wessex
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546 Timelines 1189 Accession of Kin
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548 Timelines became King Henry VI
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550 Timelines 1513 Niccolo Machiave
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552 Timelines 1578 Opening of The T
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554 Timelines 1685 Death of Charles
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556 Timelines 1811-12 The campaign
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558 Timelines the USA expanded towa
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560 Timelines USA, which demanded t
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562 Timelines conceded. The phrase
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564 Timelines policy, with enormous
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Acknowledgements W.H. AUDEN, Their
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568 Acknowledgements D.H. LAWRENCE,
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Select bibliography The following b
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572 Select bibliography Dollimore,
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574 Select bibliography Miner, Earl
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576 Select bibliography Burrow, J.W
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578 Select bibliography Sinfield, A
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580 Index Ballantyne, R(obert) M(ic
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582 Index Cockburn, Alison (c.1712-
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584 Index Gaskell, (Mrs) Elizabeth
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586 Index Keats, John (1795-1821) 1
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588 Index Morris, William (1834-96)
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590 Index Seneca, Lucius Annaeus (c
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592 Index Waugh, Evelyn (1903-66) 3
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