It has become axiomatic that First World War literature was disenchanted, or disillusioned, and returning combatants were unable to process or communicate that experience. In Writing disenchantment, Andrew Frayn argues that this was not just about...
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It has become axiomatic that First World War literature was disenchanted, or disillusioned, and returning combatants were unable to process or communicate that experience. In Writing disenchantment, Andrew Frayn argues that this was not just about the war: non-combatants were just as disenchanted as those who fought, and writers such as D.H. Lawrence and Virginia Woolf produced some of the sharpest criticisms. Its language already existed in contemporary sociological and historical accounts of the problems of mass culture and the modern city, whose structures contained the conflict and were strengthened during it. Archival material, sales data and reviews are used to chart disenchantment in a wide range of early twentieth-century war literature from novels about fears of invasion and pacifism, through the modernist novels of the 1920s to its dominance in the War Books Boom of 1928-1930. This book will appeal to scholars and students of English literature, social and cultural history, and gender studies
Patriotism, propaganda and pacifism, 1914-18From hope to disenchantment, 1919-22 -- Modernism, conflict and the home front, 1922-27 -- Sagas and series, 1924-28 -- Popular disenchantment: the war books boom, 1928-30.
