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Accelerated Times: British Literature in Transition, 1980-2000Pollard, Eileen J.; Schoene, Berthold; University of Chester; Manchester Metropolitan University (Cambridge University Press, 2018-12-20)The central premise underpinning our volume is simple: the final two decades of the twentieth century no longer constitute an integral part of what we call the contemporary. We now view the late twentieth century through a complex historicising lens darkened by the events of 9/11, the ensuing ‘clash of civilisations’ and ‘war on terror’, the Global Financial Crisis of 2008, ongoing austerity and – most recently – the rise of populist politics. An additional impediment to immediate access and perfect recall is the impact effected by technological advances on everyday life in the twenty-first century: how reliably can we ‘supermoderns’ (to adopt Marc Augé’s term ) be expected to recollect and relate to a now bygone world that did not have the internet, email, social networking, wifi or the mobile phone? Even those of us who lived through the 1980s and 1990s will be finding this increasingly difficult. Superseded and defamiliarised by previously unimaginable technologically-modified ways of everyday living, the late twentieth century is beginning to look more and more like history. One prominent theme informing the tone of this introduction is how the final two decades of the twentieth century were marked by the speed of accelerated change in society’s attitudes to class, subnational devolution, religion, sexuality and the Black and Asian Minority Ethnic experience, as well as how these complex and mutually imbricated discourses helped produce a notable sense of motion sickness in the literature of the period.
No Such Thing as Society: The Novel under NeoliberalismPollard, Eileen J.; Schoene, Berthold; University of Chester; Manchester Metropolitan University (Cambridge University Press, 2018-12-20)Because literature always depends on evoking a sense of community between writers and their readers, there can be no flourishing of literature without society. Indicative of this axiomatic is the novel’s contribution to how any specific ‘social imaginary’ or ‘structure of feeling’ comes to crystallize in the first place. Complementing Raymond Williams’ influential encapsulation of ‘structure of feeling’ as each new generation’s response to ‘the unique world it is inheriting, taking up many continuities [...] yet feeling its whole life in certain ways differently’, Manfred Steger defines social imaginaries as the ways in which ‘“we” – the members of a particular community – fit together, how things go on between us, the expectations we have of each other, and the deeper normative notions and images that underlie those expectations’. The final two decades of the twentieth century are no exception in this regard, as they too constitute a singular slice of history with its own particular set of common understandings, expressions and practices of culture and community. Importantly, the perceived distinctiveness and newness of the period was the result not so much of a gentle generational shift as a wholescale political revolution, the enormity of which would jolt society into a hitherto inconceivable direction of socio-economic change and cultural transmutation. As Colin Hutchinson puts it, the inception of Thatcherite neoliberalism in Britain is best understood as a violent ‘assault […] on the public realm [leading to] the erosion of civic sensibilities and collective allegiances’. Another point of interest for us is the formative implication of ‘The Individual’ in the symbiosis of society and the novel. Nancy Armstrong describes individualism as ‘the ideological core’ of the novel; in her view, ‘novels think like individuals about the difficulties of fulfilling oneself […] under specific cultural historical conditions’. Armstrong’s proposition assumes special significance in the light of Margaret Thatcher’s announcement in 1987 that ‘there is no such thing [as society]! There are individual men and women and there are families and no government can do anything except through people and people look to themselves first.’ Thatcher’s eradication of society and her hyperbolic championing of the individual instigated a fundamental ideological recasting of late twentieth-century Britain’s social imaginary, which in turn significantly influenced the development of the British novel.