Henry Green: Class, Style, and the Everyday offers a critical prism
through which Green's fiction-from his earliest published short
stories, as an Eton schoolboy, through to his last dialogic novels
of the 1950s-can be seen as a coherent, subtle, and humorous
critique of the tension between class, style, and realism in the
first half of the twentieth century. The study extends on-going
critical recognition that Green's work is central to the
development of the novel from the twenties to the fifties, acting
as a vital bridge between late modernist, inter-war, post-war, and
postmodernist fiction. The overarching contention is that the
shifting and destabilizing nature of Green's oeuvre sets up a
predicament similar to that confronted by theorists of the
everyday. Consequently, each chapter acknowledges the indeterminacy
of the writing, whether it be: the non-singular functioning (or
malfunctioning) of the name; the open-ended, purposefully ambiguous
nature of its symbols; the shifting, cinematic nature of Green's
prose style; the sensitive, but resolutely unsentimental depictions
of the working-classes and the aristocracy in the inter-war period;
the impact of war and its inconsistent irruptions into daily life;
or the ways in which moments or events are rapidly subsumed back
into the flux of the everyday, their impact left uncertain. Critics
have, historically, offered up singular readings of Green's work,
or focused on the poetic or recreative qualities of certain works,
particularly those of the 1940s. Green's writing is, undoubtedly,
poetic and extraordinary, but this book also pays attention to the
cliched, meta-textual, and uneventful aspects of his fiction.
General
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