By Marina MacKay
The literature of global warfare II has emerged as an finished, relocating, and tough physique of labor, produced by way of writers as various as Norman Mailer and Virginia Woolf, Primo Levi and Ernest Hemingway, Jean-Paul Sartre and W. H. Auden. This significant other offers a accomplished review of the foreign literatures of the battle: either these works that recorded or mirrored reports of the struggle because it occurred, and people who attempted to make feel of it afterwards. It surveys the writing produced within the significant combatant international locations (Britain and the Commonwealth, the united states, Japan, Germany, France, Italy, and the USSR), and explores its universal subject matters. With its chronology and consultant to additional examining, it will likely be a useful resource of knowledge and proposal for college kids and students of contemporary literature and conflict stories.
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Extra info for The Cambridge Companion to the Literature of World War II (Cambridge Companions to Literature)
55. 24. Brian Gardner, “Introductory Note,” The Terrible Rain: The War Poets 1939–1945 (London: Methuen, 1993), p. xviii. 25. Gardner, “Introductory Note,” p. xix. 26. John Manifold, “Camouflage,” in More Poems of the Second World War, ed. Erik de Mauny, Victor Selwyn, and Ian Fletcher (London: J. M. Dent & the Salamander Oasis Society, 1989), p. 79. 27. Peter de Vries, “Poetry and the War,” College English 5, 3 (Dec. 1943), 114. 28. Letter to J. C. Hall dated June 10, 1943. Keith Douglas, The Letters, ed.
Louis is in a direct line of inheritance that stretches back to the time of the eleventh-century Duke Robert, predating even the Norman conquest of England. The English widow, Aunt Barbe, is resented by her tenants as intensely as the eleventh-century Saxon inhabitants of England would have resented the arrival of William the Conqueror; she has the character almost of an occupying power. However, this national antagonism is defused in some degree by stress on the friction between Norman and French culture, which means that the degree of identification with place that is of immense significance for the protagonist Henrietta must be disengaged from a territorial brand of nationalism and focused on the attachment formed by personal history alone.
As Robert Conquest wrote, in terrible despair: “there is too much. / Too much confusion! Too much metal! ”47 Those oppressions, that gaze, empty the war poems of political power just as they make them invaluable as documents of confusion, weakness, fantasy, and illusion attempting to track the dead across the wastelands of technological warfare. NOTES 1. “Why Not War Writers? A Manifesto,” Horizon 5, 22 (Oct. 1941), 238. 2. Louis MacNeice, “Brother Fire,” Collected Poems, ed. E. R. Dodds (London: Faber, 1979), p.