Joseph Conrad, Ford Madox Ford, and Virginia Woolf

Author(s):  
Vincent P. Pecora

Both Robert Frost and Gertrude Stein confront the need for belonging with a certain American ambivalence, one that can also be found in the novelistic tradition, but their complicated attitudes toward the land of their birth puts the English attitude that we find in George Eliot in sharp relief. The English novel after George Eliot turns increasingly to what has been called questions of agro-romantic values. The chapter looks specifically at such values in Thomas Hardy (Tess of the d’Urbervilles); Joseph Conrad (Lord Jim); D. H. Lawrence (The Rainbow and The Plumed Serpent); E. M. Forster (Howards End and A Passage to India); and Virginia Woolf (To the Lighthouse and Between the Acts).


2015 ◽  
Vol 43 (1) ◽  
pp. 149-168 ◽  
Author(s):  
Douglas Kerr

Of his nineteen years as a sailor, from 1874 to 1894, Joseph Conrad actually worked on ships for ten years and eight months, of which just over eight years were spent at sea, including nine months as a passenger (Najder 161–62). During these nomadic years, London was the place to which he returned again and again to seek his next berth, staying in a series of sailors’ homes, lodgings, and boarding houses. How did he spend his time, a single man with no family and few friends, whose main occupation was waiting? He recalled, in the preface toThe Secret Agent, “solitary and nocturnal walks all over London in my early days” (7). Ford Madox Ford says that Conrad knew all the bars around Fenchurch Street (which links the financial centre of the City of London to Whitechapel and the East End) from his days of waiting for a ship. Returning to the area later in life, according to Ford's slightly improbable memory, he “became at once the city-man gentleman-adventurer with an eye for a skirt,” who “could tell you where every husky earringed fellow with a blue, white-spotted handkerchief under his arm was going to. . . .” (Joseph Conrad116, 117). The reality of these London sojourns was probably less romantic, most of the time. But there was one place where a sailor ashore, without much money, could always go for company and entertainment: the music-hall.


Author(s):  
Andrew Thacker

This chapter considers how London developed as a modernist city, from the late nineteenth century to the period after World War Two. It analyses the geographical emotions produced by particular locations within London, such as the London Underground and Metro-Land suburbs; the cultural institutions of Bloomsbury and Fleet Street; the bohemia of Soho and the nightlife of Piccadilly Circus; and the Notting Hill area settled by postwar immigrants to the city. It considers the affective responses of writers such as Virginia Woolf and Henry James to the material restructuring of the city, before turning to the role of publishers, bookshops, and literary networks in helping establish modernism in the city, in the shape of poetic movements such as the Rhymers and the Imagists. The final part of the chapter analyses texts by two important outsiders in London: Joseph Conrad in The Secret Agent and Sam Selvon in The Lonely Londoners.


Author(s):  
Nick Hubble

George Orwell suggested that proletarian literature began before the First World War when Ford Madox Ford, the editor of the English Review, met D.H. Lawrence and saw in him the portent of a new class finding expression in literature. Chapter one of this book explores the extent to which Ford was already anticipating the ideas of William Empson in his Edwardian pastoral, which is seen as a mode of discourse concerned with rethinking social relations and a key progenitor of both modernism and proletarian literature. The chapter also discusses Ford and H.G. Wells as uneasy collaborators in ‘music-hall’ modernism and analyses the urban explorations of both Katherine Mansfield and Virginia Woolf.


2019 ◽  
Vol 34 (6) ◽  
pp. 1609-1613
Author(s):  
Fatbardha Doko ◽  
Hyreme Gurra ◽  
Lirije Ameti

Modernism is a very interesting and important movement in literature, characterized by a very self-conscious break with traditional ways of writing, in both poetry and prose fiction. However, the most important literary genre of modernism is the novel. Although prewar works by Henry James, Joseph Conrad, and other writers are considered Modernist, Modernism as a literary movement is typically associated with the period after World War I. Other European and American Modernist authors whose works rejected chronological and narrative continuity include Virginia Woolf, Marcel Proust, Gertrude Stein, and William Faulkner. After First World War a lot of developments took place, new inventions opened up the mind of artists in the 1920s, one of them was Virginia Woolf, a very specific novelist. So, this paper deals with Virginia Woolf’s novel, Mrs. Dalloway, and the main focus is on the elements of modernism in this masterpiece. It is a modern novel which has also most of the features of modernism, or we can say that there are several ways in which one can see Mrs. Dalloway as a Modernist novel. The most dominant characteristic is the content and the narrative style. Virginia Woolf overstepped the traditional writing by describing characters not only superficially but also their inner thoughts. Rather than having a straightforward narrative with a beginning and end and a narrator who knows it all, with Mrs Dalloway we have several narrators, flashbacks, stream-of-consciousness style, and a totally fragmented story. Also there is a connection of the author and her characters; she putted a piece of herself in each one of them. This is how you can find about the author’s life path and how her sufferings, mental illness affected into her writing. Thus, Virginia Woolf is considered an iconic modernist writer and pioneer not only of the stream of consciousness narrative technique, but of the use of free indirect speech, psychological as well as emotional motives of characters. Nevertheless, the unconventional use of figures of speech also makes a great characteristic and a symbol of her novels. Stream of consciousness writing allows readers to “listen in” on a character's thoughts. This will make you explore yourself in ways you have never thought before. Specifically, in Clarissa Dalloway’s preparations to host a party that evening Virginia Woolf records all her thoughts, remembrances and impressions, as well as the thoughts of other characters. There is no actual story, no plots or sub-plots, in fact, there is no action in the traditional sense in this novel, except from the “myriad of impressions” created by Virginia Woolf’s new style of writing.


2005 ◽  
Vol 38 (1-2) ◽  
pp. 49-59
Author(s):  
Radojka Verčko

The article addresses the issue of the close relationship between the nexistential concem and the narrative techniques used by English writers Ford Madox Ford, Virginia Woolf and Aldous Huxley to present the general human condition. The selected authors had introduced narrative techniques that influenced the entire development of the modern  novel and that are stili highly  relevant and widely used in the contemporary novel, including the Slovene modern novel.


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