20. James Joyce was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark novel which perfected his stream of consciousness technique and combined nearly every literary device available in a modern re-telling of The Odyssey. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man. Dubliners, is a penetrating analysis of the stagnation and paralysis of Dublin society. The stories incorporate epiphanies, a word used particularly by Joyce, by which he meant a sudden consciousness of the "soul" of a thing. A Portrait of the Artist as a Young Man is a nearly complete rewrite of the abandoned novel Stephen Hero. Joyce attempted to burn the original manuscript in a fit of rage during an argument with Nora, though to his subsequent relief it was rescued by his sister. A Künstlerroman, Portrait is a heavily autobiographical coming-of-age novel depicting the childhood and adolescence of protagonist Stephen Dedalus and his gradual growth into artistic self-consciousness. Some hints of the techniques Joyce frequently employed in later works, such as stream of consciousness, interior monologue, and references to a character's psychic reality rather than to his external surroundings, are evident throughout this novel. Despite early interest in the theatre, Joyce published only one play, Exiles, begun shortly after the outbreak of World War I in 1914 and published in 1918. A study of a husband and wife relationship, the play looks back to The Dead (the final story in Dubliners) and forward to Ulysses, which Joyce began around the time of the play's composition. Joyce also published a number of books of poetry. His first mature published work was the satirical broadside "The Holy Office" (1904), in which he proclaimed himself to be the superior of many prominent members of the Celtic revival. His first full-length poetry collection Chamber Music (referring, Joyce explained, to the sound of urine hitting the side of a chamber pot) consisted of 36 short lyrics. In Ulysses, Joyce employs stream of consciousness, parody, jokes, and virtually every other established literary technique to present his characters. He sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty models. The book explores various areas of Dublin life, dwelling on its squalor and monotony. Nevertheless, the book is also an affectionately detailed study of the city, and Joyce claimed that if Dublin were to be destroyed in some catastrophe it could be rebuilt, brick by brick, using his work as a model. Adeline Virginia Woolf was an English author, essayist, publisher, and writer of short stories, regarded as one of the foremost modernist literary figures of the twentieth century.
During the interwar period, Woolf was a significant figure in London literary society. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction." Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work. Woolf's fiction is also studied for its insight into shell shock, war, class and modern British society. Her best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties female writers and intellectuals face because men hold disproportionate legal and economic power and the future of women in education and society. Throughout her life, Woolf was plagued by periodic mood swings and associated illnesses. Though this instability often affected her social life, her literary productivity continued with few breaks until her suicide. Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, Saxon Sydney-Turner, Duncan Grant, Leonard Woolf and Roger Fry, who together formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. The ethos of the Bloomsbury group encouraged a liberal approach to sexuality , and in 1922, met the writer and gardener Vita Sackville-West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship, which, according to Sackville- West, was only twice consummated. [8] In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both genders. Nigel Nicolson, Vita Sackville-West's son, wrote "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her". [9] After their affair ended, the two women remained friends until Woolf's death in 1941. Woolf is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness and the underlying psychological as well as emotional motives of characters. Woolf's reputation declined sharply after World War II, but her eminence was re-established with the surge of Feminist criticism in the 1970s. Her work was criticised for epitomising the narrow world of the upper-middle class English intelligentsia. Some critics judged it to be lacking in universality and depth, without the power to communicate anything of emotional or ethical relevance to the disillusioned common reader. She was also criticised by some as an anti-semite, despite her being happily married to a Jewish man. This anti-semitism is drawn from the fact that she often wrote of Jewish characters in stereotypical archetypes and generalisations, including describing some of her Jewish characters as physically repulsive and dirty. Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: Woolf is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions. David Lawrence was an English novelist, poet, playwright, essayist and literary critic. His collected works represent an extended reflection upon the dehumanising effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, and instinct. Lawrence's opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer. Lawrence is perhaps best known for his novels Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley's Lover. Within these Lawrence explores the possibilities for life and living within an industrial setting. In particular Lawrence is concerned with the nature of relationships that can be had within such settings. Though often classed as a realist, Lawrence's use of his characters can be better understood with reference to his philosophy. His use of sexual activity, though shocking at the time, has its roots in this highly personal way of thinking and being. It is worth noting that Lawrence was very interested in human touch behaviour (see Haptics) and that his interest in physical intimacy has its roots in a desire to restore our emphasis on the body, and re-balance it with what he perceived to be western civilisation's slow process of over-emphasis on the mind. In his later years Lawrence developed the potentialities of the short novel form in St Mawr, The Virgin and the Gypsy and The Escaped Cock.
21. Fantasy . Stories involving magic, paranormal magic and terrible monsters have existed in spoken forms before the advent of printed literature. Homer's Odyssey satisfies the definition of the fantasy genre with its magic, gods, heroes, adventures and monsters. Fantasy literature, as a distinct type, emerged in Victorian times, with the works of writers such as William Morris and George MacDonald. J. R. R. Tolkien played a large role in the popularization of the fantasy genre with his highly successful publications The Hobbit and The Lord of the Rings. Tolkien was largely influenced by an ancient body of Anglo-Saxon myths, particularly Beowulf, as well as modern works such as The Worm Ouroboros by E. R. Eddison. It was after the publication of his work that the genre began to receive the moniker "fantasy" (often applied retroactively to the works of Eddison, Carroll, Howard, et al.). Tolkien's close friend C. S. Lewis, author of The Chronicles of Narnia and a fellow English professor with a similar array of interests, also helped to publicize the fantasy genre. John Ronald Reuel Tolkien is an English writer, poet, philologist, and university professor, best known as the author of the classic high fantasy works which form a connected body of tales, poems, fictional histories, invented languages, and literary essays about an imagined world called Arda, and Middle-earth. This has caused Tolkien to be popularly identified as the "father" of modern fantasy literature[6][7]—or, more precisely, of high fantasy. Beginning with The Book of Lost Tales, written while recuperating from illnesses contracted during The Battle of the Somme, Tolkien devised several themes that were reused in successive drafts of his legendarium. The two most prominent stories, the tale of Beren and Lúthien and that of Túrin, were carried forward into long narrative poems (published in The Lays of Beleriand). Tolkien wrote a brief "Sketch of the Mythology" which included the tales of Beren and Lúthien and of Túrin, and that sketch eventually evolved into the Quenta Silmarillion, an epic history that Tolkien started three times but never published. Tolkien desperately hoped to publish it along with The Lord of the Rings, but publishers (both Allen & Unwin and Collins) got cold feet. In addition to his mythopoeic compositions, Tolkien enjoyed inventing fantasy stories to entertain his children.[136] He wrote annual Christmas letters from Father Christmas for them, building up a series of short stories (later compiled and published as The Father Christmas Letters). Other stories included Mr. Bliss and Roverandom (for children), and Leaf by Niggle (part of Tree and Leaf), The Adventures of Tom Bombadil, On Fairy-Stories, Smith of Wootton Major and Farmer Giles of Ham. Roverandom and Smith of Wootton Major, like The Hobbit, borrowed ideas from his legendarium.The Hobbit.Tolkien never expected his stories to become popular, but by sheer accident a book called The Hobbit, which he had written some years before for his own children, came in 1936 to the attention of Susan Dagnall, an employee of the London publishing firm George Allen & Unwin, who persuaded Tolkien to submit it for publication. However, the book attracted adult readers as well as children, and it became popular enough for the publishers to ask Tolkien to produce a sequel.The Lord of the Rings. Even though he felt uninspired, the request for a sequel prompted Tolkien to begin what would become his most famous work: the epic novel The Lord of the Rings (originally published in three volumes 1954–1955). Tolkien spent more than ten years writing the primary narrative and appendices for The Lord of the Rings, during which time he received the constant support of the Inklings, in particular his closest friend Lewis, the author of The Chronicles of Narnia. Both The Hobbit and The Lord of the Rings are set against the background of The Silmarillion, but in a time long after it.Tolkien at first intended The Lord of the Rings to be a children's tale in the style of The Hobbit, but it quickly grew darker and more serious in the writing.[137] Though a direct sequel to The Hobbit, it addressed an older audience, drawing on the immense back story of Beleriand that Tolkien had constructed in previous years, and which eventually saw posthumous publication in The Silmarillion and other volumes. Tolkien's influence weighs heavily on the fantasy genre that grew up after the success of The Lord of the Rings.The Lord of the Rings became immensely popular in the 1960s and has remained so ever since, ranking as one of the most popular works of fiction of the 20th century, judged by both sales and reader surveys.[138] In the 2003 "Big Read" survey conducted by the BBC, The Lord of the Rings was found to be the "Nation's Best-loved Book". Australians voted The Lord of the Rings "My Favourite Book" in a 2004 survey conducted by the Australian ABC.[139] In a 1999 poll of Amazon.com customers, The Lord of the Rings was judged to be their favourite "book of the millennium".[140] In 2002 Tolkien was voted the 92nd "greatest Briton" in a poll conducted by the BBC, and in 2004 he was voted 35th in the SABC3's Great South Africans, the only person to appear in both lists. His popularity is not limited to the English-speaking world: in a 2004 poll inspired by the UK's "Big Read" survey, about 250,000 Germans found The Lord of the Rings to be their favourite work of literature.
22. Literary postmodernism was officially inaugurated in the United States with the first issue of boundary 2, subtitled "Journal of Postmodern Literature and Culture", which appeared in 1972. David Antin, Charles Olson, John Cage, and the Black Mountain College school of poetry and the arts were integral figures in the intellectual and artistic exposition of postmodernism at the time. Although Jorge Luis Borges and Samuel Beckett are sometimes seen as important influences, novelists who are commonly counted to postmodern literature include William Burroughs, Giannina Braschi, Kurt Vonnegut, John Barth, Donald Barthelme, E.L. Doctorow, Jerzy Kosinski, Don DeLillo, Thomas Pynchon, Ishmael Reed, Kathy Acker, Ana Lydia Vega, and Paul Auster. Postmodernists generally challenge the notion that imperialism is primarily economic and place a greater stress on cultural and social exploitation. Originating in continental Europe in the mid 20th century postmodernists emphasise the essentially pluralistic nature of society as people move away from a dependency on manufacturing and industry for economic and social status. This shift in focus is a reason for praise from scholars as it gives a 'respect for difference', incorporating the views of the Western population on the ground often overlooked by other theorists (Griffiths and O'Callaghan, 2004). They thus argue that anti-imperialism must involve the promotion of non-dominant cultures as well as non-dominant economic interests. Postcolonial literature is a body of literary writings that reacts to the discourse of colonization. Post-colonial literature often involves writings that deal with issues of de-colonization or the political and cultural independence of people formerly subjugated to colonial rule. It is also a literary critique to texts that carry racist or colonial undertones. Postcolonial literature, finally in its most recent form, also attempts to critique the contemporary postcolonial discourse that has been shaped over recent times. It attempts to re-read this very emergence of postcolonialism and its literary expression itself. The author Jean Rhys made a significant contribution to postcolonial literature in her novel Wide Sargasso Sea, which describes a Creole (mixed-race) woman whose white British husband maltreats her based on his perceptions of her racial heritage. The Canadian writer Margaret Atwood is also a post-colonial writer who dealt with themes of identity-seeking through her Southern Ontario Gothic style of writing. Postcolonial literature can be identified by its discussion of cultural identity. The piece of literature, be it a novel, poem, short story etc. may be about the change that has taken place or question the current change. Postcolonial literature tends to ask the question: Now that they’ve finally achieved independence, what can they do? After so much change has taken place, their culture cannot return to its original state. Postcolonial literature tends to answer the following question: Should there be an attempt to restore the original culture, conformity to the culture presented by the settlers or the creation of a new culture which combines both? If a novel answers and explores any of the above questions it may be considered postcolonial literature. When trying to identify post colonial literature, it is important to recognize whether the ex-colony in question is actually independent or considered independent, but reliant on its former colonist. Henry Graham Greene was an English author, playwright and literary critic. His works explore the ambivalent moral and political issues of the modern world. Greene was notable for his ability to combine serious literary acclaim with widespread popularity. Several works such as The Confidential Agent, The Third Man, The Quiet American, Our Man in Havana and The Human Factor also show an avid interest in the workings of international politics and espionage. Greene suffered from bipolar disorder, which had a profound effect on his writing and personal life. In a letter to his wife Vivien he told her that he had "a character profoundly antagonistic to ordinary domestic life", and that "unfortunately, the disease is also one's material". Greene originally divided his fiction into two genres: thrillers (mystery and suspense books), such as The Ministry of Fear, which he described as entertainments, often with notable philosophic edges, and literary works, such as The Power and the Glory, which he described as novels, on which he thought his literary reputation was to be based. As his career lengthened, both Greene and his readers found the distinction between entertainments and novels increasingly problematic. The last book Greene termed an entertainment was Our Man in Havana in 1958. When Travels with My Aunt was published eleven years later, many reviewers noted that Greene had designated it a novel, even though, as a work decidedly comic in tone, it appeared closer to his last two entertainments, Loser Takes All and Our Man in Havana, than to any of the novels. Greene also wrote short stories and plays, which were well-received, although he was always first and foremost a novelist. He collected the 1948 James Tait Black Memorial Prize for The Heart of the Matter. In 1986, he was awarded Britain's Order of Merit. The literary style of Graham Greene was described by Evelyn Waugh in Commonweal as "not a specifically literary style at all. The words are functional, devoid of sensuous attraction, of ancestry, and of independent life". Commenting on this lean, realistic prose and its readability, Richard Jones wrote in the Virginia Quarterly Review that "nothing deflects Greene from the main business of holding the reader's attention." His novels often have religious themes at the centre. In his literary criticism he attacked the modernist writers Virginia Woolf and E. M. Forster, for having lost the religious sense, which, he argued, resulted in dull, superficial characters, who "wandered about like cardboard symbols through a world that is paper-thin". Only in recovering the religious element, the awareness of the drama of the struggle in the soul carrying the infinite consequences of salvation and damnation, and of the ultimate metaphysical realities of good and evil, sin and divine grace, could the novel recover its dramatic power. Suffering and unhappiness are omnipresent in the world Greene depicts; and Catholicism is presented against a background of unvarying human evil, sin, and doubt. he novels often powerfully portray the Christian drama of the struggles within the individual soul from the Catholic perspective. Greene was criticised for certain tendencies in an unorthodox direction — in the world, sin is omnipresent to the degree that the vigilant struggle to avoid sinful conduct is doomed to failure, hence not central to holiness. The better he came to know the socio-political realities of the third world where he was operating, and the more directly he came to be confronted by the rising tide of revolution in those countries, the more his doubts regarding the imperialist cause grew, and the more his novels shifted away from any identification with the latter."[22] The supernatural realities that haunted the earlier work declined and were replaced by a humanistic perspective, a change reflected in his public criticism of orthodox Catholic teaching. Left-wing political critiques assumed greater importance in his novels: for example, years before the Vietnam War, in The Quiet American he prophetically attacked the naive and counterproductive attitudes that were to characterize American policy in Vietnam.