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Download from Many Music Websites, Or Can Be Heard on the CD That Accompanies Doherty’S Nazi Wireless Propaganda Writing the Radio War: British Literature and the Politics of Broadcasting, 1939- 1945 Ian Whittington Department of English McGill University, Montreal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy ! Ian Whittington, 2013 Table of Contents Abstract…………………………………………………………………………………..v Résumé…………………………………………………………………………………vii Acknowledgements……………………………………………………………………..ix Introduction: War on the Wireless…………………………………………………….....1 Chapter 1: Radio Treason and the Political Uncanny: Rebecca West, Nancy Mitford, and the Spectre of Lord Haw-Haw……………………………………………….42 Chapter 2: Out of the People: J.B. Priestley’s Middlebrow Radicalism………………..96 Chapter 3: Castles on the Air: Radio Modernism and Propaganda in Louis MacNeice’s Wartime Broadcasts…………………………………………………………….144 Chapter 4: Radio Free Empire: George Orwell, E.M. Forster, and Imperial Diffusion………………………………………………………………………... 225 Chapter 5: Calling the West Indies: Una Marson’s Wireless Black Atlantic………… 288 Conclusion……………………………………………………………………………. 333 Works Cited……………………………………………………………………………342 v Abstract The social and political transformations of the Second World War in Britain required a massive coordination of public opinion and effort. “Writing the Radio War: British Literature and the Politics of Broadcasting, 1939-1945” examines the mobilization of British writers through their involvement in radio broadcasting. Drawing on theories of mass communication from the 1930s to the present day, this dissertation argues that the power of radio as a medium of propaganda and national identity-formation lay in its ability to generate an aura of intimacy that encouraged listener identification with the national community. Capitalizing on this intimacy, writers imagined listening publics that were at odds with official projects of national unity. Confronted with the Anglophone fascism of pro-Nazi broadcaster William Joyce, Nancy Mitford and Rebecca West used their writings to neutralize the threat of autochthonous extremism by depicting Joyce as a laughable ideological non-national subject. Even among patriotic Britons, political fractures appeared, as when J.B. Priestley used his radio “Postscripts” to frame debates about postwar British society along socialist lines. In the mixed documentary-dramatic genre of the radio “feature,” Louis MacNeice modelled collective gain through collaborative effort in The Stones Cry Out, Alexander Nevsky, and Christopher Columbus. On the Overseas Service, George Orwell and E.M. Forster attempted subtle compromises to keep Indian listeners loyal to the Empire, while Jamaican poet Una Marson repurposed the BBC’s networks in order to imagine alternative communities. Marson turned the program Calling the West Indies into an incubator for a vibrant Caribbean literary scene. Collectively, these writers used the wireless to guide British listeners through the social and political changes brought vi on by the war: having entered the conflict as an imperial nation riven by class and ideology, Britain emerged ready to embark on the massive social experiment of the multicultural postwar welfare state with a renewed sense of possibility and promise. vii Résumé Les transformations sociales et politiques de la deuxième guerre mondiale en Grande-Bretagne ont nécessité une mobilisation énorme d’opinion et d’effort publique. “Writing the radio war: British literature and the politics of broadcasting, 1939-1945” examine la participation des écrivains britanniques dans cette mobilisation au niveau de leur engagement dans la radiodiffusion. Cette thèse utilise diverses théories de communication datant des années 1930 jusqu’au présent pour démontrer la puissance de la radio comme moyen de propagande et de gestion d’identité nationale en raison de sa capacité d’engendrer une semblance d’intimité entre les auditeurs et leur communauté nationale. Les écrivains de cette période ont pris avantage de cette intimité pour imaginer des publiques qui contredisaient les projets officiels d’unification nationale. Face au fascisme anglophone de William Joyce, un propagandiste pronazi, Nancy Mitford et Rebecca West se sont servies de leurs écrits pour rendre neutre la menace d’une extrémisme autochtone en décrivant Joyce comme une aberration idéologique, risible et étranger. Les divisions politiques sont apparues même parmi les Britanniques patriotiques; avec son programme “Postscripts” sur la BBC, J.B. Priestley a poursuit un avenir socialiste pour la Grande Bretagne, ce qui contrevenait les intentions du gouvernement pendant la guerre. Avec ses productions documentaires et dramatiques, incluant The Stones Cry Out, Alexander Nevsky, et Christopher Columbus, Louis MacNeice a modelé un processus de travail collectif au bénéfice du collectif. Dans le Overseas Service du BBC, George Orwell et E.M. Forster tentaient des compromis subtils pour assurer la fidélité des auditeurs indiens à l’Empire Britannique. La poète jamaïquaine Una Marson a profité des réseaux impériaux pour imaginer des viii communautés autres que celui de l’Empire en transformant le programme Calling the West Indies en incubateur pour une scène littéraire caraïbe dynamique. Ensemble, ces écrivains ont profité de la radiodiffusion pour piloter le public britannique à travers les changements sociopolitiques de la guerre. Ayant rentré dans la guerre une nation impériale fendu par l’idéologie et par les classes sociales, la Grande Bretagne est ressortie avec un esprit de possibilité et se trouvait prêt à embarquer sur la grande expérimentation de l’état social démocratique de caractère multiculturelle. ix Acknowledgements This dissertation would not have been possible without the support, guidance, and affection of a great many people. My family has been the centre of my emotional and intellectual life since before I can remember; to my parents, I extend my deepest love and gratitude for the many conversations, ideas, laughs, and thoughtful silences we have enjoyed and will continue to enjoy. In addition to being the best of siblings, my brothers Luke and Jesse are my closest friends and a constant source of inspiration and encouragement. Even though we stand exactly the same height, I find myself looking up to both of them on a daily basis. To Tabitha and Ali, and to Lennox, Tavish, Gideon, Johanna, and new arrivals as yet unnamed, I offer thanks for the happiness they have brought to my brothers and me by joining our family. Had I imagined what role a thesis supervisor would play in this project, I could not have come up with an abler guide than Allan Hepburn. He has believed in this project from its inception, and more importantly, has given me every opportunity to fulfill the potential he saw in me. Allan has done what I hope to do for my own students in the future: he gave me the necessary intellectual tools and told me to go out and build this house myself. He bolstered this mentorship with every speedy email, word of good counsel, and feat of crisis mitigation. For each of these acts of support, large and small, I am grateful. Other academic mentors deserve mention. Ned Schantz and Jonathan Sterne have provided invaluable intellectual support during the crafting of this thesis. Debra Rae Cohen of the University of South Carolina has given me both scholarly feedback and professional encouragement. At McGill, Monica Popescu has shepherded me towards a greater sophistication in my thinking about imperialism, nationalism, and x anti-colonialism. Derek Nystrom has shaped my pedagogy and my thinking about the politics of academia, along with being a most friendly office-neighbour. Many other faculty members at McGill have contributed to my understanding of this project and the broader field of English literature. I have benefitted from a great deal of institutional assistance in completing this project. This dissertation was written with the support of the Social Sciences and Humanities Research Council of Canada, through a CGS Bombardier Doctoral Fellowship and a Michael Smith Foreign Travel Supplement. Together, McGill University and the Department of English provided a Tomlinson Recruitment Fellowship, graduate fellowships, and departmental and faculty-level travel grants. The department also provided me with valuable opportunities for teaching as an instructor and teaching assistant, which have helped me to grow as a scholar and an educator. Thanks are due to those individuals who have helped with the substantial archival research required for this project. Louise North, Jacquie Kavanagh, and the entire staff of the BBC Written Archives Centre in Caversham, UK, provided invaluable advice in navigating the compendious archives of the BBC. They tolerated my presence for four months while I combed their holdings for the masterpieces, scraps, and loose threads that would make up the primary sources for this dissertation. Stefan Collini of the University of Cambridge enabled that research trip by agreeing to supervise my research while I was in the UK. Alison Cullingford and the Special Collections staff at Bradford University were very adept at providing me with information relating to J.B. Priestley’s wartime broadcasts and other output. Acknowledgement is also due to the staff at the National Sound Archive at the British Library, King’s College Archives at xi Cambridge, the Bodleian Library Special Collections at Oxford, and the Mass Observation Archive at the University of Sussex, who were manifestly professional, courteous, and knowledgeable
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