Rewriting the Thirties
Rewriting the Thirties by Keith Williams, published by Taylor & Francis in 1997, is a scholarly exploration of the literary landscape of the 1930s. This edition spans 221 pages and is presented in English. The book challenges the prevailing notion of the decade as ‘anti-modernist,’ positing instead that it represents a transitional phase bridging modern and post-modern writing and politics amid significant cultural and technological shifts.
Readers will find a collection of essays that reassess prominent writers of the era, including both proletarian and canonical novelists like James Barke and George Orwell, as well as poets such as Auden and MacNeice. The text delves into the complex interplay of Modernist influences and examines the literary-critical debates of the time, touching on themes such as theatrical innovation, audience perceptions of cinema, and the poetics of suburbia. This comprehensive analysis also considers the impact of consumerism and national ideology, alongside the discursive strategies employed in British and American documentarism.
Official synopsis Publisher
Rewriting the Thirties questions the myth of the ‘anti-modernist’ decade. Conversely, the editors argue it is a symptomatic, transitional phase between modern and post-modern writing and politics, at a time of cultural and technological change.The text reconsiders some of the leading writers of the period in the light of recent theoretical developments, through essays on the ambivalent assimilation of Modernist influences, among proletarian and canonical novelists including James Barke and George Orwell, and among poets including Auden, MacNeice, Swingler and Bunting, and in the work of feminist writers Vera Brittain and Winifred Holtby. In this substantial remapping, the complexity and scope of literary-critical debate at the time is discussed in relation to theatrical innovation, audience attitudes to the mass medium of modernity – cinema – the poetics of suburbia, consumerism and national ideology, as well as the discursive strategies of British and American documentarism.
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