By Anthea Trodd
A survey of the variations of Edwardian writing and the way they healthy into literary and cultural swap. This e-book covers writers reminiscent of Conrad, Forster, Wells, Bennett, Shaw, Kipling, Tressell, Hardy, Yeats and Woolf. Modernists akin to Lawrence and Mansfield also are incorporated. the writer combines literary feedback of writing within the Edwardian interval with cultural exams (for instance, she examines imperialism and patriarchy), and units her paintings in an ancient context.
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Extra resources for A reader's guide to Edwardian literature
The imperialist romances promoted an idea of the Englishman which emerged from the ruling-class cult of masculinity established in the public schools since the middle of the nineteenth Page 16 century. The school stories popular during this period charted a shift from Christian manliness to a distinct imperialist emphasis. , 1899, which described a public school training ground for the future defenders of empire, showed the boys as rebellious to the masters, resistant to emotional appeals and continually derisive of the goody-goody heroes of previous school classics.
In imperialist fictions the reverse of the invulnerable self-contained imperialist hero is the European who goes native. Conrad's Mr Kurtz and Kipling's Kim are variations on this theme. Both heroes also work for front organisations which assert a civilising scientific influence on colonised countries, Kurtz for the Society for the Suppression of Savage Customs, which is a looters' charter, and Kim for the Ethnographical Survey, which is an arm of the British secret service. Both discover an ability to empathise with, and impersonate, the behaviour of subject races.
The most consistent producer of children's classics in the period was Edith Nesbit. The romance market was dominated by Marie Corelli, who carried her mass readership forward into the new century, and by other women romancers such as Florence Barclay, Ethel M. Dell and Elinor Glyn. The Search for an Audience Corelli's audience far exceeded that of any of the critically regarded writers of the period. Her 1895 bestseller, The Sorrows of Satan, carried a triumphant note announcing that no review copies had been sent out; the author was addressing the public directly.