By Vincent Sherry
The good struggle of 1914-1918 marked a turning element in glossy historical past and tradition. This significant other bargains serious overviews of the foremost literary genres and social contexts that outline the learn of the literatures produced by way of global battle I. It examines the war's effect on quite a few nationwide literatures ahead of addressing the way in which the struggle affected Modernism, the eu avant-garde, movie, women's writing, memoirs, and, in fact, the warfare poets. the quantity concludes through addressing the legacy of the conflict for twentieth-century literature.
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Extra info for The Cambridge Companion to the Literature of the First World War (Cambridge Companions to Literature)
O’Garra drives a bayonet into his anus. ’” And that appears to be that. The worst obscenity, in a performance obscene from beginning to end, is that Reiburg remains unraped. The Sadean utopia O’Garra and Elston have built for themselves inside war’s thickening excremental fog is dedicated to the pursuit of death alone. 1 Gunn, the veteran protagonist of Liam O’Flaherty’s Return of the Brute (1929), is another man subject to deathly ejaculations. ” He at once gives in to and overcomes temptation by murdering a sadistic corporal, as it were on his friend’s behalf, while they are out on a raid.
4 How better to grasp the nature of the physical and mental damage done by a particular form of combat than through the eyes of the women whose task was to help repair it? Furthermore, if we are to understand the social as well as the military dimension of combat, we surely cannot afford to ignore the testimony of refugees, cabinet ministers, munitions workers, paciﬁsts, and bereaved parents. On the whole, however, the novels written by and about noncombatants have as their topic the consequences of war in general.
The readjustment involves, above all, a description of the battleﬁeld: the environment in which the protagonist has been required to perform. ”10 These commonplaces might be thought dreary because they turn neither on exhilaration nor on terror, but on disgust. There is no escaping disgust, in First World War narratives. Disgust might be thought the inevitable (that is, “natural”) response to many of the scenes witnessed during battle and its long-drawn-out aftermath. But it is more than that. It is the feeling above (or below) all others which these war chronicles intend to provoke in their readers.
The Cambridge Companion to the Literature of the First World War (Cambridge Companions to Literature) by Vincent Sherry