Download Blasted literature : Victorian political fiction and the by Deaglán Ó Donghaile PDF

By Deaglán Ó Donghaile

ISBN-10: 0748640673

ISBN-13: 9780748640676

Dynamite novels meet intellectual modernism through the influence of terrorism. among 1880 and 1915, various writers exploited terrorism's political shocks for his or her personal inventive ends. Drawing on late-Victorian 'dynamite novels' by way of authors together with Robert Louis Stevenson, Tom Greer and Robert Thynne, radical journals and papers, equivalent to The Irish humans, The Torch, Anarchy and Freiheit, and modernist writing from H.G. Wells and Joseph Conrad to the compulsively militant modernism of Wyndham Lewis and the Vorticists, Ó Donghaile maps the political and aesthetic connections that bind the shilling shocker heavily to modernism

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135; Book II, p. 297; Book II, p. 283. Nordau, Degeneration, Book I, p. 144. Nordau, Degeneration, Book I, pp. 231, 357. Nordau, Degeneration, Book I, p. 535. See Coulson Kernahan, The Red Peril, p. 48. See Joseph Conrad, ‘The Informer’, from The Lagoon and Other Stories (Oxford and New York: Oxford University Press, 1997), p. 105. See Michael Denning, Cover Stories: Narrative and Ideology in the British Spy Thriller (London: Routledge & Kegan Paul, 1987), p. 3. See John Carey, The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880–1939 (London: Faber and Faber, 1992), pp.

9) In the atmosphere of ‘appalling silence’ that follows the explosion, Challoner, guiltily aware of the ‘staring’ windows of the surrounding tenements (p. 10), escapes the site of the explosion, but his subsequent complicity in Fenian activity is much more difficult to shirk off. The guilt he experiences at the scene of the explosion suggests that the feelings of urban alienation described by a host of Victorian novelists, sociologists and journalists are intensified by the unexpected shocks of political violence, and that the ‘battle’ that constitutes metropolitan existence necessitates struggling against such isolation.

59 By focusing on the trauma caused by violent political change from below, Burke portrayed revolution as a purely shocking phenomenon lacking in political content. He was not the only writer to play on contemporary fears of sans-culottism as political fear fuelled late eighteenth-century English and Irish gothic fiction, sensational genres that displaced very faintly the subject of Jacobin violence. For example, the ‘shocking event’ with which Matthew Lewis’s 1796 novel, The Monk, closes, sanitises these fears by presenting them as apolitical horror and the vengeful crowd that beats the Prioress to death is a clear stand-in for the republican mob.

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