In 1935, the English writer Stephen Spender wrote that the
historical pressures of his era should "turn the reader's and
writer's attention outwards from himself to the world." Combining
historical, formalist, and archival approaches, Thomas S. Davis
examines late modernism's decisive turn toward everyday life,
locating in the heightened scrutiny of details, textures, and
experiences an intimate attempt to conceptualize geopolitical
disorder. The Extinct Scene reads a range of mid-century texts,
films, and phenomena that reflect the decline of the British Empire
and seismic shifts in the global political order. Davis follows the
rise of documentary film culture and the British Documentary Film
Movement, especially the work of John Grierson, Humphrey Jennings,
and Basil Wright. He then considers the influence of late modernist
periodical culture on social attitudes and customs, and presents
original analyses of novels by Virginia Woolf, Christopher
Isherwood, and Colin MacInnes; the interwar travel narratives of W.
H. Auden, Christopher Isherwood, and George Orwell; the wartime
gothic fiction of Elizabeth Bowen; the poetry of H. D.; the
sketches of Henry Moore; and the postimperial Anglophone Caribbean
works of Vic Reid, Sam Selvon, and George Lamming. By considering
this group of writers and artists, Davis recasts late modernism as
an art of scale: by detailing the particulars of everyday life,
these figures could better project large-scale geopolitical events
and crises.
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