Relevant bibliographies by topics / Whitechapel (London, England) – Fiction

Academic literature on the topic 'Whitechapel (London, England) – Fiction'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Whitechapel (London, England) – Fiction"

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Slocum, Leah. "South African Allegories in Richard Jefferies’s After London; or Wild England (1885)." Victoriographies 14, no. 2 (July 2024): 156–75. http://dx.doi.org/10.3366/vic.2024.0531.

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This paper argues that Richard Jefferies’s After London (1885), often praised as a pioneering work of speculative fiction, has not been sufficiently understood within the context of late-Victorian imperial expansion. While After London is frequently read in tandem with Jefferies’s nature essays and speculative fiction like H. G. Wells’s The Time Machine (1895), I locate the novel within the generic conventions of lost world fiction, a subgenre of the imperial romance associated with masculine adventure tales. Analysing After London’s parallels with, and potential influences on, H. Rider Haggard’s King Solomon’s Mines (1885), published later that same year, I argue that Jefferies’s unflattering portrayal of English ‘Bushmen’, coupled with the geography of Wild England, gesture emphatically to South Africa. In turn, the motif of a ‘relapse into barbarism’ serves to rationalise the fantasies of terra nullius [‘nobody’s land’] and extractive treasure hunting that Felix Aquila, the quixotic hero, enacts. By connecting After London to Haggard’s highly influential fiction and drawing on Jefferies’s writings about British colonialism in South Africa and the conventions of travel literature, cartography, and ethnography, this paper provides a more complete understanding of Jefferies’s contributions to the canon of lost world fiction.
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Yan, Lin. "Identity, Place and Non-belonging in Jean Rhys’s Fiction." Theory and Practice in Language Studies 8, no. 10 (October 1, 2018): 1278. http://dx.doi.org/10.17507/tpls.0810.04.

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Place is considered as a distinguishable factor among Jean Rhys’s novels, most concretely represented by three countries: Dominica, England and France. In locating her outsider and outcast heroines in these places of interconnectedness, Rhys’s fiction responds to a time of crisis in the history of Empire. With a much stigmatized white West Indian creole identity, her heroines are unacceptably white in Dominica, and unacceptably “black” in Europe. In Voyage in the Dark, Anna is stranded in a modernist London that was at once racially heterogeneous, cosmopolitan and xenophobic. Her transgressive and mobile identities (racial, sexual, national), are forever making her stranger in the metropole. In Quartet and Good Morning, Midnight, both Marya and Sasha occupy the temporary and liminal spaces of the metropolis of Paris and try to buy themselves an illusion of a respectable identity. Rejected, unhoused, wandering in a state of limbo, their existence becomes mechanical and ghostly. It is this sense of having no identity and no place of belonging resulted from a very specific and traumatic colonial experience that best explains the pervasive tone of loss, melancholy, and paralysis of spirit underlying all of Rhys’s fiction.
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Beebee, Thomas O. "All the News That Is Fit to Steal: Charles Gildon, Ferrante Pallavicino, and the Geopolitics of Rifled Mailbag Fiction." Journal for Eighteenth-Century Studies 47, no. 1 (March 2024): 31–44. http://dx.doi.org/10.1111/1754-0208.12928.

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AbstractCharles Gildon (1665–1724) is known today as the ultimate hack writer of Restoration England. Nonetheless, his two fiction collections in the ‘rifled mailbag’ genre — The Post‐Boy Rob'd of His Mail (1692) and The Post‐Man Robb'd of His Mail (1719) — contain insights concerning the structures and practices of information gathering in early modern Europe. This essay places these fictions by Gildon in their historical and literary contexts, including his repurposing of the Italian Il Corriero svaligiato by Ferrante Pallavicino, the relation to John Dunton's Athenian Mercury, and the use of addresses and occupations of letters to describe the geopolitics of Restoration London and its surround.
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Clayton, Owen. "London Eyes: William Dean Howells and the Shift to Instant Photography." Nineteenth-Century Literature 65, no. 3 (December 1, 2010): 374–94. http://dx.doi.org/10.1525/ncl.2010.65.3.374.

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Owen Clayton, "London Eyes: William Dean Howells and the Shift to Instant Photography"(pp. 374––394) Toward the end of the nineteenth century, one of William Dean Howells's many avid readers, finally meeting him in the flesh, expressed surprise that the famed writer was not dead. Although he had not actually departed from the world, it was true that by this time the venerable "Dean"was at a low ebb. While younger authors were taking the novel in directions about which he was, at the least, ambivalent, Howells was aware that his own best work was behind him. Yet, throughout his career, he maintained a desire to test different literary approaches. In England in 1904, Howells tested a conceit that would allow him to keep pace with the literary movements of the day. This consisted of an extended photographic metaphor: an association of himself with the Kodak camera. He used this figuration to move beyond the philosophical foundations of his previous work. Criticism has largely overlooked this endeavor, which Howells buried away in the somewhat obscure travelogue London Films (1905). This essay shows how London Films used its photographic metaphor to question positivistic observational assumptions, the way in which this was a response to William James's Essays in Radical Empiricism (1912), and, finally, why Howells ultimately went back on his attempt to create a Kodak school in fiction.
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Dennis, Richard. "No Home-Like Place: Delusions of Home in Born in Exile." Victoriographies 10, no. 2 (July 2020): 147–64. http://dx.doi.org/10.3366/vic.2020.0379.

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George Gissing was obsessed with the question of ‘home’, in his own restless mobility as well as that of his characters, whose domestic circumstances he invariably enumerated in detail. Gissing's Born in Exile moves between real and fictional locations in London, Exeter, and the industrial north of England, but also between a variety of lodgings, chambers, and houses which accommodate, constrain, and only occasionally liberate their occupants. Their contradictory and volatile attitudes to these ‘homes’ parallel Gissing's unstable reactions to his own lodgings and highlight the relative nature of locations between town and country as well as differences in perception of the same physical surroundings. Descriptions of and debates about ‘home’ in Born in Exile provide a prelude to Gissing's later, more dogmatic pronouncements in The Private Papers of Henry Ryecroft, also penned – in fiction – from the perspective of the country around Exeter.
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Butler-Way, Emma. "Liminal Identities: The London Reader’s Mrs. Larkall’s Boarding School (1864) and the Silhouette of Sensation." Victorian Popular Fictions Journal 6, no. 1 (June 28, 2024): 117–30. http://dx.doi.org/10.46911/xdpv6887.

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In the first half of 1864, The London Reader serialised a sensational story attributed only to “the author of Man and his Idol,” which takes the reader on a whirlwind journey from the south coast of England, through continental Europe, and back again as a character is pursued by a “nameless terror.” That character is Gertrude Norman, and the story is Mrs Larkall’s Boarding School. The aim of this article is twofold: firstly, to begin a process of literary excavation, and offer an introduction to the story and some of the key plot points; secondly, to offer an analysis of the character of Gertrude Norman. This exploration will consider the role of girls’ education in constructing a Victorian woman, and ask how the genealogy between Gertrude and earlier sensation heroines such as M.E. Braddon’s Aurora Floyd, and Wilkie Collins’s Marian Halcombe and Magdalen Vanstone, and later figures such as Rhoda Broughton’s Kate Chester, and Florence Marryat’s Helene Treherne and Elfrida Salisbury works alongside that education to create a character who exists in a state of flux, a liminal being within her own narrative, and within the wider environment of sensation fiction of the 1860s.
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Conary, Jennifer. "“DREAMING OVER AN UNATTAINABLE END”: DISRAELI'S TANCRED AND THE FAILURE OF REFORM." Victorian Literature and Culture 38, no. 1 (February 23, 2010): 75–87. http://dx.doi.org/10.1017/s1060150309990325.

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The “condition of England” in the middle of the nineteenth century was, for most Victorians (and is, indeed, for most modern scholars of the Victorian period), about as far removed from desert pirates and neo-Grecian queens as London from Jerusalem. But such was not the case in 1847 for the ambitious novelist-turned-politician Benjamin Disraeli, himself a mixture of political and social incongruities, who chose to conclude his political trilogy with a novel that bore greater resemblance to an Arabian Nights fantasy than to any mid-Victorian reform fiction. Contemporary readers of Tancred, or The New Crusade (1847) were understandably perplexed: “There is no principle of cohesion about the book, if we except the covers,” complained one reviewer (qtd. in Stewart 229). And, while critics have expanded upon this dismissive condemnation throughout the twentieth century, not much has changed regarding the general critical appraisal or thoughtful analysis of what Disraeli regarded as the favorite of his compositions (Blake 215). The least popular of the Young England novels both in its own day and in ours, Tancred has most frequently been viewed as an anomaly – an abandonment of the political manifesto Disraeli began in Coningsby and continued in Sybil.
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Weatherill, Lorna. "A Possession of One's Own: Women and Consumer Behavior in England, 1660–1740." Journal of British Studies 25, no. 2 (April 1986): 131–56. http://dx.doi.org/10.1086/385858.

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Hall Men are born free, how is it that all Women are born slaves? As they must be if the being subjected to the inconstant, uncertain, unknown, arbitrary Will of Men, be the Perfect Condition of Slavery? [Mary Astell, Reflections upon Marriage (London, 1700), p. 66]The wife ought to be subject to the husband in all things. [Hannah Woolley, The Gentlewoman's Companion or a GUIDE to the Female sex (London, 1675), p. 104]IDid men and women have different cultural and material values in the late seventeenth and early eighteenth centuries? We know very little in detail about the activities of people within their homes and especially about their attitudes to the material goods that they used and that surrounded them. Virginia Woolf's complaint that she had no model to “turn about this way and that” in exploring the role of women in fiction applies equally to women's behavior as consumers, for we still do not know, as she put it, “what, in short, they did from eight in the morning till eight at night.” Did their particular roles within the household result in different material values, just as their biological and economic roles were different? We do know that power was unequally distributed within the household, although we can also demonstrate cooperation and affection between family members. We take it that the household was, in some sense, the woman's domain, but very often we cannot explore what this meant in practice. In short, was being “subjected to the inconstant, uncertain, unknown, arbitrary Will of Men” reflected in women's cultural values and tastes?These are broad questions that are not easily answered, either in theory or by observation, especially as it is not easy to identify the behavior of women as distinct from that of the family and household, but they are questions worth asking to see if there are signs of behavior different enough to warrant the view that there was a subculture in which women had the chance to express themselves and their views of the world separately, especially as the daily routines of their lives were different.
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van der Oye, David Schimmelpenninck. "The Fiction and Reality of Jan Struys: A Seventeenth‐Century Dutch Globetrotter. By Kees Boterbloem. (London, England: Palgrave Macmillan, 2008. Pp. iv, 315. $80.00.)." Historian 74, no. 1 (March 1, 2012): 142–43. http://dx.doi.org/10.1111/j.1540-6563.2011.00314_39.x.

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Randall, Ian. "Charles Haddon Spurgeon, the Pastors’ College and the Downgrade Controversy." Studies in Church History 43 (2007): 366–76. http://dx.doi.org/10.1017/s042420840000334x.

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Charles Haddon Spurgeon (1834–92) began his pastoral ministry in a village Baptist chapel in Cambridgeshire but became a national voice in Victorian England through his ministry in London. The huge crowds his preaching attracted necessitated the building of the Metropolitan Tabernacle, at the Elephant and Castle, which accommodated over 5,000 people. ‘By common consent’, says David Bebbington, Spurgeon was ‘the greatest English-speaking preacher of the century’. Spurgeon, like other nineteenth-century ecclesiastical figures, was involved in theological controversies, including the ‘Downgrade Controversy’, in which, in typically robust style, he attacked theological liberalism. In August 1887, he trumpeted: ‘The Atonement is scouted, the inspiration of Scripture derided, the Holy Spirit degraded into an influence, the punishment of sin turned into a fiction, and the resurrection into a myth …’ The Downgrade controversy has not attracted nearly as much attention as debates provoked in the nineteenth century by Essays and Reviews (1860) and Lux Mundi (1889), perhaps because the latter affected Anglicanism rather than the Free Churches. But since as many people were attending Free Churches as Anglican churches, the issues raised in the Downgrade, as the most serious nineteenth-century Free Church dispute, are of considerable significance.
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Dissertations / Theses on the topic "Whitechapel (London, England) – Fiction"

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Dyer, Rebecca Gayle. "London via the Caribbean migration narratives and the city in postwar British fiction /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077633.

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Nosan, Gregory G. ""The people rejoiced" : Vauxhall Gardens and the public world, 1732-1792 /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3029523.

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McLeod, Deborah Anne. "The Minerva Press." 1997. http://books.google.com/books?id=tYLgAAAAMAAJ.

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Housholder, Aaron J. "The (re)mystification of London : revelations of contested space, concealed identity and moving menace in late-Victorian Gothic fiction." 2012. http://liblink.bsu.edu/uhtbin/catkey/1697794.

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This project asserts that much of the cultural anxiety found in Gothic-infused late-Victorian fiction derives from literary revelations of the nested spaces, shifting identities, and spontaneous connections inherent to the late-Victorian metropolis. The three literary texts studied here – The Hound of the Baskervilles by Arthur Conan Doyle, Raffles: The Amateur Cracksman by E.W. Hornung, and The Thirty-Nine Steps by John Buchan – all depict London as fundamentally suitable for those who seek to evade the disciplinary gaze and to pursue menacing schemes of criminality and invasion. Doyle’s text illustrates the interconnectedness of the spaces within London as well as the passable threshold between London and the English countryside; both the villain Stapleton and the hero Sherlock Holmes use these connections to attack and defend, respectively, the city and its inhabitants. Hornung’s stories depict the machinations employed by the gentleman-thief Raffles as he alters his identity and his codes of behaviour in order to free himself to pursue criminal ends and thus as he challenges cultural barriers. Buchan’s text, building on the others, explores the dissolution of cultural boundaries and identities incumbent upon the spontaneous connections made between those who attack English culture and those, like Richard Hannay, who defend it. There emerges in these texts a vision of London (and by extension Great Britain) as a swirling vortex of motion, an unknowable labyrinth perpetually threatened by menacing agents from without and within. I have employed Victor Turner’s theories of liminality and communitas to describe how criminal agents, and their equally menacing “good-guy” pursuers, separate themselves from structured society in order to move freely and to gain access to the contested thresholds they seek to infiltrate. I also invoke theories of the Gothic, surveillance, and travel, as well as Jeffrey Cohen’s monster theory, to characterize the anxiety embedded in such invasions.
The transformation of contested space : Baker Street, Grimpen Mire and the battle for thresholds in The hound of the Baskervilles -- Hornung's code-switching monster : threatening ambiguity and liminoid mobility in Raffles, the amateur cracksman -- Towards a more inclusive Britishness : Richard Hannay's transformative connections and evolving identity in The thrity-nine steps.
Department of English
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Books on the topic "Whitechapel (London, England) – Fiction"

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Florence, Hertz, ed. L'ange de Whitechapel. Paris: Ed. France loisirs, 2007.

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Florence, Hertz, ed. L'ange de Whitechapel. Paris: Pocket, 2010.

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Perry, Anne. The Whitechapel conspiracy. Waterville, Me: G.K. Hall, 2001.

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Clair, Daunton, ed. The London Hospital illustrated: 250 years. London: Batsford, 1990.

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Paige, Robin. Death at Whitechapel. New York: Berkley Prime Crime, 2000.

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Grimes, Martha. Les cloches de Whitechapel. Paris: Presses de la Cité, 1987.

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1959-, Chisholm Alexander, DiGrazia Christopher-Michael 1963-, and Yost Dave 1962-, eds. The news from Whitechapel: Jack the Ripper in the Daily Telegraph. Jefferson, N. C: McFarland & Company, 2002.

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College, London Hospital Medical, ed. Emblems, tokens and tickets of The London Hospital (1740-1985) and The London Hospital Medical College (1785-1985). (London): D. Gibbs (for) the London Hospital Medical College, 1985.

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Tully, James. Prisoner 1167: The madman who was Jack the Ripper. New York: Carroll & Graf Publishers, 1997.

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Underwood, Peter. Jack the Ripper: One hundred years of mystery. Poole: Blandford, 1987.

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Book chapters on the topic "Whitechapel (London, England) – Fiction"

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Blake, Ann. "The London Observer: Doris Lessing." In England Through Colonial Eyes in Twentieth-Century Fiction, 116–27. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230599277_8.

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Mörsch, Carmen. "Die Bildung der A_N_D_E_R_E_N durch Kunst." In Postcolonial Studies, 355–76. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839449868-018.

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Carmen Mörsch fokussiert in diesem Beitrag auf die Entwicklung der Kunstvermittlung in England in London. Dort ist dieses Arbeitsfeld weltweit am stärksten ausdifferenziert, und seine Diskurse und Praktiken setzen bis heute auch in Deutschland Impulse. Dies ist kein Zufall, denn seine Entstehung ist eingebettet in die Zeit der Nationalstaatsbildung und verwoben mit der Entstehung des Empire und damit mit der Formierung einer kolonial und kapitalistischen Gesellschaftsordnung. Anhand kurzer historischer Abrisse zum 18. und 19. Jahrhundert sowie eines Fallbeispiels, der Whitechapel Art Gallery in London und ihrer Vorläuferinstitution, dem Social Settlement Toynbee Hall, soll anschaulich werden, dass es sich bei Kunstvermittlung um ein Arbeitsfeld handelt, in dem sich minorisierte Subjektpositionen - allen zuvorderst und bis heute weiße, bürgerliche Weiblichkeit - professionelle Handlungsräume und Sichtbarkeit erkämpften und dass letztere nicht ohne Verluste - nämlich auf Kosten rassistisch und klassistisch markierter A_n_d_e_r_e_r - zu haben waren.
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"Isaak Shklovsky [Dioneo], from ‘Whitechapel’ Sketches of Contemporary England (St Petersburg, 1903): 507–31." In London Through Russian Eyes, 1896-1914, 116–34. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv2s2ppgb.20.

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Oulton, Carolyn W. de la L. "‘A Fit and Exquisite Setting’." In Down from London, 37–74. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800854611.003.0002.

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As the railway network expanded from the mid-nineteenth century, movement between London and the south coast of England created a framework within which new types of fiction could be produced that would reflect the fantasies and concerns of resort visitors. The chapter explores a range of textual encounters with the seaside, from the 19th century sensation novel to the fin de siècle comic travelogue and the self-scrutiny of modernism. Often characterised as a female element, the sea also threatens male characters in a number of ways. The chapter also shows that to read by the seaside at all is an overdetermined act, one that renders the reader highly visible and open to the judgement of curious strangers.
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Sillars, Stuart. "Magazines for All." In Picturing England between the Wars, 175–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198828921.003.0013.

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A major source of information and entertainment was the illustrated magazine, of which The Graphic and the Illustrated London News were the most popular. The first was the least innovative, with rigid layout and brief captions barely related to its illustrations. The Illustrated London News had a wider scope, in its Christmas 1930 number including colour images of paintings, and illustrated fiction, yet its presentation was still moderately rigid. Picture Post, begun in 1938 brought words and images together through skilful layout and imaginative photography, attracting readers with a greater variety of social, political and artistic articles. Its use of images without borders gave energy lacking in the earlier magazines. It used these features to satirise some ministers and praise others, and attacked Government policies, including unemployment and early-war censorship. Yet many of its visual techniques were adopted by Government in its publications of the war years.
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Sillars, Stuart. "Imaging the Classics." In Picturing England between the Wars, 145–58. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198828921.003.0011.

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Works of English fiction considered as classics appeared in many illustrated editions during the inter-war years. Many reprinted earlier images, such as those of Hugh Thomson; others were limited editions with images by well-known artists, that, assuming their readers’ knowledge of the plots, became a form of literary criticism. Images for more general readers, often placing events in contemporary styles, were more common. Harold Copping’s illustrations for Dickens’ A Christmas Carol was very popular in the early 1920s, a time when soldiers were returning and many families came together after the War. Others included those of Rowland Wheelwright for Fielding’s Tom Jones, and Clare Leighton’s to Hardy’s Return of the Native. Others approached classics differently. Arthur Moreland’s Dickens Landmarks in London having images of the actual places where fictional events occurred.
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Livesey, Ruth. "Soundscapes of the city in Margaret Harkness, A City Girl (1887), Henry James, The Princess Casamassima (1885–86), and Katharine Buildings, Whitechapel." In Margaret Harkness, 111–29. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526123503.003.0007.

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This chapter explores Harkness’s first novel in the context of socialist fiction and the future of the modern novel in the 1880s. A City Girl pivots on one of the staple formulae of earlier nineteenth-century domestic melodrama and its radical political possibilities: a cross-class romantic relationship in which a working-class girl is seduced and abandoned by a gentleman. Unpicking how this novel reworks the inherited forms of radical melodrama helps to shed new light on Friedrich Engels’s famous critique of the work’s relation to realism and the status of literary naturalism in 1880s Britain. The Princess Casamassima – Henry James’s self-consciously experimental foray into naturalism and the political activism of 1880s London – serves as a counterpoint to illustrate the pressure of representation in the modernity of late Victorian mass culture. The chapter ends by returning to Katharine Buildings, Whitechapel, and Harkness’s time spent there researching A City Girl. Drawing on the correspondence and record books of Ella Pycroft, the resident lady rent collector, and Harkness’s cousin Beatrice Potter Webb, this chapter presents a counter-narrative that suggests how the residents themselves tried to write back their own life stories against an interpretative community of social activists, philanthropists, novelists, and political agents.
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Ryan, John F. "The Declining Years." In Gerald O'Donovan: A Life, 229–52. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800854604.003.0012.

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This chapter describes O’Donovan’s life throughout the 1930s, during which Rose Macaulay continued to meet him privately in London, and accompany him on their secret holidays abroad. During a trip to the Lake District in 1939, Macaulay, who was driving, collided with an oncoming car. O’Donovan suffered concussion and had a stroke soon afterwards, from which he never fully recovered. He and Beryl subsequently moved to Albury, and he died there from colon cancer on 26 July 1942. In his obituary in the Times Literary Supplement, Philip Tomlinson paraphrased Walter de la Mare’s response to Waiting, likening O’Donovan’s fiction to a ‘flaming brand in Ireland’, adding that ‘in England too, the fire could be felt’, and noted that George Moore once regarded him as ‘the most powerful force in modern Irish fiction’.
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Barber, C. L. "Misrule as Comedy; Comedy as Misrule." In Shakespeare's Festive Comedy. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149523.003.0003.

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This chapter considers the tendency for Elizabethan comedy to be a saturnalia, rather than to represent saturnalian experience. In Elizabethan England, a direct development of comedy out of festivity was prevented by the existence of an already developed dramatic literature—and by the whole moral superstructure of Elizabethan society. When the issue was put to the test, license for festive abuse was never granted by Elizabethan officials. The tendency examined in this chapter bears witness to the saturnalian impulse which did find expression in dramatic fiction. Saturnalia could come into its own in the theater by virtue of the distinction between the stage and the world which Puritans were unwilling to make in London but which fortunately prevailed across the river on the Bankside.
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Rea, Ann. "‘Something worse than the past in not being yet over’:1 Elizabeth Bowen’s Orphans, Exile and the Predicaments of Modernity." In Rereading Orphanhood, edited by Diane Warren and Laura Peters, 231–47. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474464369.003.0012.

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Like ghosts, orphans in Elizabeth Bowen’s fiction represent what domesticity and the family cannot accommodate, whether in Anglo-Ireland, upper-middle-class England, or wartime London. Laden with a variety of simultaneous meanings, these orphans are distilled remnants of the persistent past, evidence of repressed family scandal, often the result of uncontrolled sexual passion, and often of a family’s lack of control over women’s sexuality. In Bowen’s short stories, the misunderstood past emerges as ghosts: in the novels it persists as orphans. While literary orphans throughout the nineteenth century signalled change, breaks from tradition and disconnections from the community that provoked moral confusion, Bowen’s orphans drift in modernity, severed from a troubling past, even while serving as symbols of it, while they struggle with disjunctions from not only cultural history and family traditions, but also because the future is uncertain. Reading Bowen’s orphan protagonists in the post-colonial context allows us to see that they embody the temporal traumas of Ireland and England. It also allows us to re-examine the ways in which Bowen’s orphans stand for unassimilated aspects of the past.
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