The Cambridge Companion to the Literature of World War II (Cambridge Companions to Literature)
Language: English
Pages: 258
ISBN: 0521715415
Format: PDF / Kindle (mobi) / ePub
The literature of World War II has emerged as an accomplished, moving, and challenging body of work, produced by writers as different as Norman Mailer and Virginia Woolf, Primo Levi and Ernest Hemingway, Jean-Paul Sartre and W. H. Auden. This Companion provides a comprehensive overview of the international literatures of the war: both those works that recorded or reflected experiences of the war as it happened, and those that tried to make sense of it afterwards. It surveys the writing produced in the major combatant nations (Britain and the Commonwealth, the USA, Japan, Germany, France, Italy, and the USSR), and explores its common themes. With its chronology and guide to further reading, it will be an invaluable source of information and inspiration for students and scholars of modern literature and war studies.
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Proof plain. But would they believe that? Not a word. No, they was dead set on me being a spy.”22 The collecting of materials that are left in a relatively raw state, unedited and uninterpreted, ought to guarantee a degree of authorial disengagement. But the structural flaw in the writer’s long-term project of assembling material without placing any construction on it until after the war is over, is that its very neutrality, its ownerless condition, leaves it open to construction by others. The.
Haste can only see the small components of the scene,” conceded one poet of the Second World War, writing about the predicament of Second World War poetry itself: “We cannot tell what incidents will focus on the final screen.”1 Seeing the big picture of a war that stretched across the globe was avowedly difficult at the time, and, notwithstanding the perspective supplied by our seventy years of distance, it remains so. What this book aims to do is to give a sense of those “components of the.
Earth.”4 German and Japanese war experiences were unspeakable not only in the familiar, colloquial sense that there seemed no words to describe destruction on such an unprecedented scale (Dresden, Hamburg, Berlin, Tokyo, Hiroshima, Nagasaki), but also politically unspeakable initially because their countries were occupied by the victorious Allied powers, and, in the longer run, because of the moral difficulty of saying anything that could be construed as “we suffered too” – which risks eliciting.
1946, his first story, “Until Being Captured” (“Tukamaru made”) was not published until February 1948, due to the Allied authorities censoring descriptions of American soldiers. Ironically, Ooka’s portrayal of former enemies as humans, rather than monstrous existences without any emotions and feelings (a caricaturing of enemies typical of both sides during the war) was not yet welcomed by the Allied forces. A collection of twelve of Ooka’s captivity narratives, including “Until Being Captured,”.
Spaces nonetheless bore the imprint of the conditions of their construction, and can be seen as one strategy among many for imaginatively surviving war. This chapter will examine the diverse strategies of British women writers to ask a series of larger questions about war and gender, and to consider whether it is possible to identify a coherent body of writing that represents a female response to the Second World War. Territorial claims: women’s place in the Second World War A substantial body of.