Reformulates our understanding of the relationship between
proletarian literature and modernism in Britain This book argues
that British proletarian literature was a politicised form of
modernism which culturally transformed Britain. Critical analysis
and close readings of key works such as D.H. Lawrence's Lady
Chatterley's Lover, Naomi Mitchison's We have Been Warned, Lewis
Grassic Gibbon's A Scots Quair and John Sommerfield's May Day, are
placed within a literary history stretching from early encounters
between Ford Madox Ford and D.H. Lawrence, through Virginia Woolf's
association with the Women's Co-operative Guild, and on to the
activity of Mass Observation in the late 1930s and 1940s. The study
analyses the way in which modernism and proletarian literature were
related to an intersectional web of class and gender that took on a
potent political shape following the 1926 General Strike and the
Equal Franchise Act of 1928. The 1930s is revealed not as an
atypical, isolated decade but as central to the literature of the
twentieth century. Key Features Relates modernism to the
intersubjective dimension of society Sets out a new perspective on
proletarian literature in Britain, releasing it from limiting
conceptions of working class authenticity or Soviet-imposed
socialist realism Shows how modernism and proletarian literature
were linked products of the (broadly) fin-de-siecle emergence of
the unconscious that fractured nineteenth-century grand narratives
Provides an historical framework for rethinking the 1930s as not an
atypical isolated decade but as central to the literature of the
twentieth century
General
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