By Sara-Patricia Wasson
Nominated for the Allan Lloyd Smith Memorial Prize for the easiest publication released at the Gothic 2009/2010, provided via the overseas Gothic Association! This e-book examines writing within the Gothic mode which subverts the dominant nationwide narrative of the British domestic entrance. rather than seeing wartime event as a website of fellowship and emotional resilience, Elizabeth Bowen, Anna Kavan, Mervyn Peake, Roy Fuller and others depict shadowy figures at the margin of the country.
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Additional info for Urban Gothic of the Second World War: Dark London
Secondly, characters are alienated from each other. When Roe takes his colleague Hilly out for a date they witness: the spectacle, dreary, commonplace and sad, of dim lit faces leaning two by two towards each other beside pink-shaded table lamps, solid, rosy, not so young couples endlessly talking, talking within their little coral pools, in half whispers, waited on by those hopeless, splay-footed, black-coated waiters. (100) Even the city’s spaces of recreation are funereal. Furthermore, in this city, people do not connect.
One elderly woman refused to leave her stewpot and stayed on in her house in a huge area of devastation. A stretcher-bearer, to humour her, asked to taste her cooking, and found the pot was full of plaster and bricks. com - licensed to Taiwan eBook Consortium - PalgraveConnect - 2011-03-03 Introduction 17 Urban Gothic of the Second World War Reid describes a man reduced to madness by the destruction of his entire street (141), I. , who lived in London during the Blitz, laments the “tensions and tiredness and distress and distorted values and the high pitched level” (Gift 216).
The shop windows are stained glass, and artificial arc lights shine through the glass to drench the store’s contents in vivid colour “like seeing the toys through Christmas cracker paper” (15). Both Roe and Christopher are spellbound. Yet this light is not benign. The outside lamps “cast the violent colors of that glass over the goods,” “aggressively” steeping the customers in its glow under the “dominion of the glass” (11, 13–14). This forceful light has an agenda: The walls of this store being covered with stained glass windows ...