DOCSLIB.ORG

Read Ebook {PDF EPUB} the Last September by Elizabeth Bowen the Last September by Elizabeth Bowen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} the Last September by Elizabeth Bowen the Last September by Elizabeth Bowen Read Ebook {PDF EPUB} The Last September by Elizabeth Bowen The Last September by Elizabeth Bowen. The Last September by Elizabeth Bowen. "Brilliant. A successful combination of social comedy and private tragedy."-- The Times Literary Supplement. About the Book. In 1920, at their country home in County Cork, Sir Richard Naylor and his wife, Lady Myra, and their friends maintain a skeptical attitude toward the events going on around them, but behind the facade of tennis parties and army camp dances, all know that the end is approaching--the end of British rule in the south of Ireland and the demise of a way of life that had survived for centuries. Their niece, Lois Farquar, attempts to live her own life and gain her own freedoms from the very class that her elders are vainly defending. THE LAST SEPTEMBER depicts the tensions between love and the longing for freedom, between tradition and the terrifying prospect of independence, both political and spiritual. "[Elizabeth Bowen] is one of the handful of great. novelists of this century." -- The Washington Post. About the Author. Elizabeth Bowen (1899-1973), a central figure in London literary society, who counted among her friends Virginia Woolf, T. S. Eliot, Evelyn Waugh and Graham Greene, is widely considered to be one of the most distinguished novelists of the modern era, combining psychological realism with an unparalleled gift for poetic impressionism. Born in Dublin in 1899, the only child of an Irish lawyer/landowner and his wife, Bowen spent her early summers on the family's estate in County Cork. Called Bowen's Court, the house and its land were the direct inspiration for the setting of Danielstown in The Last September . About the Film. Now a major motion picture from Trimark Pictures, starring Maggie Smith and Michael Gambon. OFFICIAL SELECTION 1999 CANNES & TORONTO FILM FESTIVALS. A timeless, psychological yet sensual drama, THE LAST SEPTEMBER depicts the tensions between the longing for love and the yearning for freedom, between long-standing tradition and radical social change, and the attractions and terrors of political, spiritual and even sexual emancipation. The story follows the end of an era, the demise of British rule in Ireland and, with it, the passing of an Anglo-Irish aristocracy (the wealthy heirs of English immigrants in Ireland, who sound and appear English, although they consider themselves Irish) that had survived for centuries. Based on Elizabeth Bowen's acclaimed novel, THE LAST SEPTEMBER is an unforgettable portrait of a young woman's coming of age in a brutalized time and place, where the ordinariness of life floats like music over the impending doom of history. Starring Academy Award-winner Maggie Smith ("Tea with Mussolini") and Michael Gambon ("The Insider"), THE LAST SEPTEMBER marks the directorial debut of noted theatre and opera director Deborah Warner ("Titus Andronicus," "The Waste Land"). The film also features an all- star cast from British film and theatre, including Jane Birkin ("A Soldier's Daughter Never Cries"), Fiona Shaw ("The Butcher Boy"), Lambert Wilson ("Jefferson in Paris"), Keeley Hawes ("The Avengers"), David Tennant ("Jude the Obscure"), Gary Lydon ("Nothing Personal"), Richard Roxburgh ("Oscar and Lucinda"), Jonathan Slinger ("Spring Awakening") and Emily Nagle in her feature film debut. Collected Stories by Elizabeth Bowen review – ghosts, comedy and a touch of Spark. I n his introduction to this new collected edition of her stories, John Banville argues that Elizabeth Bowen, best remembered for her novels such as The Last September , was “the supreme genius of her time” in the short form. That seems a bold claim, though “her time” was a pretty narrow window. Most of the 79 stories here were written between the mid-1920s and the end of the second world war. Although Bowen lived another 30 years, she had less need of the ready income that stories provided after the commercial success of her 1938 novel The Death of the Heart . That Bowen, born into a wealthy Anglo-Irish family, wrote for money may seem surprising; there’s nothing dashed off here. The earliest stories, written in Bowen’s early 20s, are crystalline miniatures of half a dozen pages or so, centring on moments of social unease: the exquisite embarrassments of Breakfast; a teacher calling on her pupils to assuage her loneliness in Daffodils. Her characters are, as one puts it, like “some tortured insect twirling on a pin”. They are often out of place, like Eleanor in The Parrot who has to visit a nearby house to rescue her employer’s missing pet bird, and finds that she is the only interesting thing to happen to her neighbours in years. Bowen’s portrait of the male neighbour, switching from angry to eager in one page, is a miracle of economy. In Ann Lee’s, a man bursts into a hat shop, interrupting three women carrying out their business, demanding attention and representing the worm in the bud of their day. Bowen’s range is in full view in this collection. There are lopsided romances (in The Good Girl, “Monica found herself becoming by imperceptible degrees engaged to Captain Monteparnesi”), social comedy and tales of suspense. The Demon Lover is her most famous ghost story, but The Cat Jumps is equally atmospheric: a murder house is bought by a family with “light, bright, shadowless, thoroughly disinfected minds”, that do not remain that way for long. The setting for most of these stories – the world Bowen knew – is solidly upper-middle class. (The opulence of this Everyman edition, with its beribboned glamour, seems fitting.) Her characters can be snobbish, and Bowen skewers this mercilessly. “I do like London now a lot of those people have gone,” says one character in Careless Talk, enjoying the effects of the second world war evacuation. “These days everything’s frightfully interesting.” Bowen was not formally experimental, but felt that unlike novels, stories are “not weighed down by facts, explanation or analysis”, and throughout her work there are strains of modernism. In Dead Mabelle, an obsessive fan in thrall to a dead movie star “as if she were a flood and his mind bulrushes”, sits in cinemas watching her “stream from reel to screen”, understanding that her existence in his mind is the only reality remaining for her. In Summer Night, one character, discussing the fracture the war has made in everyday life, makes an explicit acknowledgment of modernism’s mantra: “We’ve got to break through to the new form – it needs genius.” Bowen had genius, but rather than delivering fully on “the new form”, she paved the way, becoming, as her biographer Victoria Glendinning put it, the link between Virginia Woolf and Muriel Spark. In her story The Evil That Men Do, there is a Sparkish air of the character understanding that the only person who can see her inner life is the writer, her creator. Like Woolf, like Spark, her language is clear but her effects complex, creating shimmering reflections of reality, her world recognisable but just out of reach. The Last September by Elizabeth Bowen. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660042de0b184a5b • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Interchapter 5 - Elizabeth Bowen's The Last September and the art of betrayal. As with many modernist writers, Elizabeth Bowen's art is typified by a certain poise so that her characters who desire to manage emotion, to be in control of themselves within the subtle codes of modern society, mirror her own conception of the novel form that revolves around containment and restraint. Hers is an art of constant deflection and deferral, of making the bric-à-brac of the contemporary world – all the objects and stuff of modernity – the reservoir of all those intense feelings that cannot be admitted in the human sphere. In her Irish writing, much of this acute emotion is bound up in the bricks and mortar of the Anglo-Irish Big House: its centrifugal presence is the centre round which, and through which, its inhabitants circle and find meaning. Bowen's most well-known Big House novel, The Last September (1929) set in the autumn of 1920 during the Irish War of Independence, can be read as a multifaceted and sophisticated response to the reality of a newly independent Ireland from a writer emerging from within the class who had been dispossessed of political power and position. The Last September by Elizabeth Bowen. In the novel, The Last September, Elizabeth Bowen describes specific events and displays extreme emotions that many people would think could only be expressed from personal experience. Elizabeth would put characteristics of her childhood and teenager years into the life of Lois, one of the main characters in the book. Her life was full of trials and tribulations and she shared that throughout her novel. I believe that Elizabeth Bowen wrote this novel from her own personal experience, especially through Lois Farquar. As stated by the author Phyllis Lassner, "Bowen's conception of her family home is reconstituted in the relationship between Danielstown and its residents"(Lassner 27).
Load more

Recommended publications
  • Metafiction in Elizabeth Bowen's the Last
    METAFICTION IN ELIZABETH BOWEN’S THE LAST SEPTEMBER : SELF- WRITING, PERFORMATIVITY, AND STORY-TELLING by ALISON T CORBETT B.A., Fordham University, 2007 M.A., University of Colorado at Boulder, 2011 A thesis submitted to the Faculty of the Graduate School of the University of Colorado at Boulder in partial fulfillment of the requirement for the degree of Masters in English Department of English 2011 This thesis entitled: Metafiction in The Last September : Self-Writing, Performativity, and Storytelling written by Alison T Corbett has been approved for the Department of English __________________ Jane Garrity __________________ Janice Ho __________________ Laura Winkiel April 15, 2011 The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Corbett, Alison T. (MA, English) Metafiction in The Last September : Self-Writing, Performativity, and Storytelling Thesis directed by Associate Professor Jane Garrity Elizabeth Bowen’s The Last September , set during the Irish War of Independence, draws insistent attention to the elaborate fiction of normalcy on which the Anglo-Irish Ascendancy has come to depend through its highly self conscious meta-text. The novel’s fictionality, and the fictionality of the lives of its characters, emerges as a result of the characters’ sense that language can be used to defer and shape reality. The palpable sense of performance that pervades the novel, in addition to its insistence of the formative role of text, stories, and conversations in shaping character, prefigures the Ascendancy’s end long before the war has intruded on the demesne.
    [Show full text]
  • Modernist Women Writers, the Senses, and Technology
    Graduate Theses, Dissertations, and Problem Reports 2018 Dissensual Women: Modernist Women Writers, the Senses, and Technology Allyson DeMaagd Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation DeMaagd, Allyson, "Dissensual Women: Modernist Women Writers, the Senses, and Technology" (2018). Graduate Theses, Dissertations, and Problem Reports. 5469. https://researchrepository.wvu.edu/etd/5469 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Dissensual Women: Modernist Women Writers, the Senses, and Technology Allyson DeMaagd Dissertation submitted to the Eberly College of Arts and Science at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Lisa Weihman, Ph.D. Julia Daniel, Ph.D. Dennis Allen, Ph.D. Lara Farina, Ph.D. Pamela L. Caughie, Ph.D. Department of English Morgantown, West Virginia 2018 Keywords: modernism; modernist women; senses; synaesthesia; technology; H.D.; Bowen, Elizabeth; Loy, Mina; Woolf, Virginia Copyright 2018 Allyson DeMaagd ABSTRACT Dissensual Women: Modernist Women Writers, the Senses, and Technology Allyson DeMaagd My project, Dissensual Women: Modernist Women Writers, the Senses, and Technology, analyzes depictions of the senses and technology in modernist women’s writing.
    [Show full text]
  • The Heat of the Day Free
    FREE THE HEAT OF THE DAY PDF Elizabeth Bowen | 400 pages | 01 Dec 2011 | Vintage Publishing | 9780099276463 | English | London, United Kingdom The Heat of the Day by Elizabeth Bowen From Coraline to ParaNorman check out some of our favorite family-friendly movie picks to watch this Halloween. See the full gallery. In World War II England, a woman is approached by a man claiming to work as an intelligence agent who has found out her lover is a spy. He promises to not arrest him if she'll have a relationship with him. I was never impressed by Harold Pinter, and when this film turned up and I saw his name on it I was almost tempted to turn it off, but I usually see a film to the very bitter end, and at least it was worth while. The story is excellent, a widow with a relationship with Michael York working in the war office during the war is importuned by Michael Gambon The Heat of the Day a rather rude and most disturbing elderly stranger, who suggests to Patricia that Michael York is a spy. A most intrinsic discussion about motives, truth, honesty and war morals follow, which is interesting indeed, but Harold Pinter obfuscates the intrigue into a fog of vagueness in which no one can find his way and least of all the audience, who is fooled by Pinter into a black hole of trivial beatings around the bush. Harold Pinter has the habit of compensating his lack of dramatic talent by tricking the audience into arguments of nothing by a trivial dialogue that sounds like basic language lessons.
    [Show full text]
  • Elizabeth Bowen's the Last September: a Postcolonial Reading* Kanako Yamaneki
    Persica, Augast 2014 No. 41 Elizabeth Bowen’s The Last September: A Postcolonial Reading* Kanako Yamaneki 0. Introduction The Last September (1929), Elizabeth Bowen’s (1899–1973) second novel, traces the search for gender and national identity of Lois Farquar, a 19-year-old orphan who lives with her uncle, Sir Richard Naylor, in his manor house, “Danielstown,” in County Cork, Ireland. The historical background of the novel is set in the summer of 1920, which saw the intensification of the Irish War of Independence (1919–1921) against the British rule. As Danielstown is one of the houses, which in Ireland are generally called “Big Houses,” i.e., the country mansions of the Anglo-Irish Protestant ascendancy, The Last September has often been interpreted and evaluated as a conservative, nostalgic Big House novel. This literary genre, which treats the problems surrounding a Big House, emerged with Maria Edgeworth’s Castle Rackrent (1800) and continues as a traditional genre of Irish fiction. However, some recent critical studies approach The Last September challengingly using contemporary literary theories such as feminism, psychoanalysis, colonialism, and new historicism.1 Unlike conventional critical studies, in this paper, I explore postcolonial discourse in The Last September and clarify how Lois’ identity is established in this context. In addition, I explore how Danielstown functions on a metaphorical level, focusing on postcolonial terms such as “domination,” “ambivalence,” “exploitation,” and “appropriation.” From this postcolonial reading, I also aim to reveal the nature of Bowen’s modernity. 1. Danielstown in a Historical Context 1.1. The History of the Protestant Ascendancy’s Domination Until the beginning of the 20th century, the Anglo-Irish Protestant gentry had reigned over Ireland, supporting a British settler colonial system.
    [Show full text]
  • Spatial Politics/Poetics, Late Modernism, and Elizabeth Bowen's the Last September
    Spatial Politics/Poetics, Late Modernism, and Elizabeth Bowen’s The Last September SIÂN E. WHITE, JAMES MADISON UNIVERSITY In her 1956 talk “Truth and Fiction” on the BBC Home Service, Elizabeth Bowen (1962, 135) speaks about story time in spatial terms: “The good story is a suc- cession of effective Nows — call them scenes, if you like — and those Nows are linked together by intermediate action. We may move backwards and forwards, but the present moment must grip and hold us, so that while we read it is as important — more important — as the moment in the room where we are in our chair.” In linking moments in time (the reading moment and the story time moment) together in terms of spatial juxtaposition rather than temporal sequenc- ing, Bowen celebrates spatialization as a way of reading and a way of writing.1 The snapshots of “effective Nows” create story as a montage might, collapsing time by showing simultaneous events in different spaces, like reading the page of a newspaper. In the next moment in the broadcast, Bowen links that aesthetic to high modernism, remarking that the “master of the dramatic Now was Virginia Woolf,” with her use of “extraordinary simultaneousness in which a number of things may be made dramatic by happening close to each other” (135 – 36). Those “things made dramatic” might be happening closely in the space of the story world or on the space of the textual page. Bowen is not clear on this point, but Joseph Frank’s similar response to the experimental forms of writers from the high modernist 1910s and 1920s suggests the latter.
    [Show full text]
  • Elizabeth Bowen 19
    Elizabeth BOl1Jen A BIBLIOGRAPHY by J'NAN M. SELLERY and WILLIA MO. HARRIS I I I Humanities Research Center THE UNIVERSITY OF TEXAS AT AUSTIN " '\ CONTENTS Copyright © 1981 by "nan M. Sellery and William o. Harris Introduction 7 L. C. Card Number: 78-52676 Acknowledgments 11 ISBN: 0-87959-080-7 Abbreviations A Books and Pamphlets by Elizabeth Bowen 19 B Contributions by Elizabeth Bowen to Books and Pamphlets 101 C Contributions by Elizabeth Bowen to Periodicals 129 --w Goo -~~) D Translations 192 E Manuscripts by Elizabeth Bowen \ O~ 1~S·7 Books and Pamphlets 199 '::~ c\ '---\ Contributions to Books and Periodicals 216 .Miscellaneous, Unfinished, and Unpublished Items 226 \~Y~J Miscellaneous Items about Elizabeth Bowen 235 Letters from Elizabeth Bowen 237 Letters to Elizabeth Bowen 260 A11404 240914 F RadIO and Television Productions and Appearances .Productions 274 Appearances 280 G Anthologies 286 H Books, Pamphlets, Dissertations, and Theses about Blizabeth Bowen 295 I Periodical Articles about (or partially about) Elizabeth Bowen J Obituaries Appendix: Contracts Frontispiece: a snapshot of Elizabeth Bowell taken ill 1946 Selective Index by Alfred Kllopf. Used by permissioll. Virginia Commonwealth University Libraries ABBREVIATIONS AmerRey American Review [replaced Book­ man after March 1933] Among Our Books Among Our Books [in Pittsburgh Monthly Bulletin, a publication of the Pittsburgh Carnegie Li­ brary] ArchR Architectural Review Atlantic Atlantic Monthly [1857-1959]; The Atlantic [1959 +] ArQ Arizona Quarterly BA Books Abroad
    [Show full text]
  • May Sarton Papers, 1860-1994
    May Sarton papers, 1860-1994 This finding aid was produced using ArchivesSpace on August 01, 2019. Describing Archives: A Content Standard Maine Women Writers Collection Abplanalp Library University of New England 716 Stevens Avenue Portland, Maine 04103 [email protected] URL: http://www.une.edu/mwwc May Sarton papers, 1860-1994 Table of Contents Summary Information .................................................................................................................................... 3 Biographical/Historical Note ......................................................................................................................... 3 Collection Scope and Content ....................................................................................................................... 4 Arrangement ................................................................................................................................................... 5 Administrative Information ............................................................................................................................ 5 Related Materials ........................................................................................................................................... 6 Controlled Access Headings .......................................................................................................................... 6 Collection Inventory ......................................................................................................................................
    [Show full text]
  • Spatial Liminality in Elizabeth Bowen's Short Fiction
    Facultade de Filoloxía Departamento de Filoloxía Inglesa e Alemá Spatial Liminality in Elizabeth Bowen’s Short Fiction Traballo de Fin de Grao Autor: Andrés Miranda Acuña Director: Jorge Sacido Romero Santiago de Compostela Curso Académico 2016-2017 Contents Introduction ...................................................................................................................... 5 Chapter 1: Elizabeth Bowen‟s Wartime Houses .............................................................. 7 1.1. Urban Gothic of the Second World War: The Subversion of the “Home Front” in Elizabeth Bowen‟s Uncanny Houses ........................................................................ 7 1.2. “The Demon Lover” ........................................................................................ 13 Chapter 2: Illumination ................................................................................................... 31 2.1. Under the Light of War .................................................................................... 31 2.2. “Mysterious Kôr” ............................................................................................. 34 Chapter 3: Wilderness Invading the Urban Landscape .................................................. 45 3.1. A Gothic Nature ............................................................................................... 45 3.1. “Ivy Gripped the Steps” ................................................................................... 47 Conclusions ...................................................................................................................
    [Show full text]
  • The Iris Murdoch Review
    The Iris Murdoch Review Published by the Iris Murdoch Archive Project in association with Kingston University Press Kingston University London, Penrhyn Road, Kingston Upon Thames, KT1 2EE http://fass.kingston.ac.uk/kup/ © The contributors, 2014 The views expressed in this Review are the views of the contributors and are not those of editors. Printed by Lightning Source Cover design by Chantelle Harbottle Typesetting by Chantelle Harbottle Cover image is from the Iris Murdoch Archives in Kingston University's Special Collections. © Kingston University A record of this journal is available from the British Library. The Iris Murdoch Society President Barbara Stevens Heusel, Northwest Missouri State University, Maryville, MO 64468, USA Secretary J.Robert Baker, Fairmont State University, 1201 Locust Ave, Fairmont, WV 26554, USA Lead Editor Anne Rowe, Director of the Iris Murdoch Archive Project, Kingston University, Penrhyn Road, Kingston Upon Thames, Surrey, KT1 2EE, UK. Email: [email protected] Assistant Editors Frances White. Email: [email protected] Daniel Read. Email: [email protected] Editorial Board Maria Antonaccio, Bucknell University, USA Cheryl Bove, retd, Ball State University, USA Avril Horner, Kingston University Bran Nicol, University of Surrey Priscilla Martin, St Edmund Hall, Oxford Advisor Peter J. Conradi (Emeritus Professor, Kingston University) Administrator Penny Tribe, Faculty of Arts and Social Sciences, Kingston University. Email: p.tribe@ kingston ac.uk Review Production Chantelle Harbottle The Iris Murdoch Review The Iris Murdoch Review ISSN 1756-7572 (Kingston University Press) publishes articles on the life and work of Iris Murdoch and her milieu. The Review aims to represent the breadth and eclecticism of contemporary critical approaches to Murdoch, and particularly welcomes new perspectives and contexts of inquiry.
    [Show full text]
  • Elizabeth Bowen and the New Cosmopolitanism
    Fairfield University DigitalCommons@Fairfield English Faculty Publications English Department 2010 Elizabeth Bowen and the New Cosmopolitanism Nels C. Pearson Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/english-facultypubs Copyright 2010 Twentieth Century Literature. Archived with permission of copyright holder. Peer Reviewed Repository Citation Pearson, Nels C., "Elizabeth Bowen and the New Cosmopolitanism" (2010). English Faculty Publications. 18. https://digitalcommons.fairfield.edu/english-facultypubs/18 Published Citation Pearson, Nels. “Elizabeth Bowen and the New Cosmopolitanism,” Twentieth Century Literature. 56:3 (2010): 1-26. This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Nels C. Pearson Elizabeth Bowen and the New Cosmopolitanism Nels C. Pearson The weight of being herself fell on her like a clock striking. She saw the clothes she would put on to go home in hanging over a chair. While it is still Before, Afterwards has no power, but after- wards it is the kingdom, the power and the glory. What [my family] can never know will soon never have been.
    [Show full text]
  • Elizabeth Bowen's Wartime Short Stories. Draft Conference
    ‘The violent destruction of solid things’: Elizabeth Bowen’s wartime short stories. Draft conference presentation Warsaw, July 2016 Whilst Elizabeth Bowen might have written to William Plomer that she “had such a good war”,1 she was acutely aware of the horrors experienced by many during the Second World War. She explores some of these horrors in The Demon Lover and Other Stories, a collection of short stories written and published individually during the second world war and then republished in the UK in 1945 and in 1946 in America as Ivy Gripped the Steps and Other Stories. In her introduction to the American edition, Bowen highlights some of her emotions during this time: In war, this feeling of slight differentiation [experienced during peace time] was suspended: I felt one with, and just like, everyone else. Sometimes I hardly knew where I stopped and everyone else began. The violent destruction of solid things, the explosion of the illusion that prestige, power and permanence attach to bulk and weight, left all of us, equally, heady and disembodied. Walls went down; and we felt, if not knew, each other. We all lived in a state of lucid abnormality.2 Commenting that the “stories are not placed in the time-order in which they were first written”,3 Bowen believed that the collection represented “a rising tide of hallucination”, adding that the “hallucinations in the stories are not a peril; nor are the stories studies of mental peril. The hallucinations are an unconscious, instinctive, saving resort on the part of the characters”.4 This paper focuses then on three stories which these hallucinations are explored through the manipulation of time – ‘The Inherited Clock’ (where time is literally stopped), ‘The Demon Lover’ and ‘The Happy Autumn Fields’.
    [Show full text]
  • When the Specters of the First World War Return to the Anglo-Irish Estate: Elizabeth Bowen’S a World of Love and J
    e-Keltoi: Journal of Interdisciplinary Celtic Studies Volume 5 Warfare Article 4 8-9-2019 When the Specters of the First World War Return to the Anglo-Irish Estate: Elizabeth Bowen’s A World of Love and J. G. Farrell’s Troubles Andréa Caloiaro University of Florida Follow this and additional works at: https://dc.uwm.edu/ekeltoi Part of the Celtic Studies Commons, English Language and Literature Commons, Folklore Commons, History Commons, History of Art, Architecture, and Archaeology Commons, Linguistics Commons, and the Theatre History Commons Recommended Citation Caloiaro, Andréa (2019) "When the Specters of the First World War Return to the Anglo-Irish Estate: Elizabeth Bowen’s A World of Love and J. G. Farrell’s Troubles," e-Keltoi: Journal of Interdisciplinary Celtic Studies: Vol. 5 , Article 4. Available at: https://dc.uwm.edu/ekeltoi/vol5/iss1/4 This Article is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in e-Keltoi: Journal of Interdisciplinary Celtic Studies by an authorized administrator of UWM Digital Commons. For more information, please contact open- [email protected]. When the Specters of the First World War Return to the Anglo-Irish Estate: Elizabeth Bowen’s A World of Love and J. G. Farrell’s Troubles Andréa Caloiaro, University of Florida Abstract In Elizabeth Bowen’s A World of Love and J. G. Farrell’s Troubles, the First World War’s dead reappear as specters within the Anglo-Irish estate. Through the lens of traumatology, this essay examines the symbolic function of this spectral return in light of its psychological, political, and cultural-historical implications for the Anglo-Irish Ascendancy, and more broadly, for contemporary Ireland.
    [Show full text]