The Cold War and the nuclear threat made it as difficult, after 1945, to look forward affirmatively as to look back. Enlightenment ideas of a ‘project of modernity’ gave way to postmodern scepticism and stasis, reflected by Samuel Beckett and the nouveau roman, and in other ways in the fiction of Malcolm Lowry and Thomas Mann and the repetitive chronologies of Joyce Cary, Lawrence Durrell and others. After the 1960s, authors such as Muriel Spark confronted the Holocaust and recent history more directly, as in later decades did Ian McEwan, Martin Amis, Graham Swift and others. In this fiction, and generally later in the century, concerns with the clock’s constraints were diminished by long familiarity and by several new factors. These included technologies of film, video, globalised media and the internet, along with increased international travel and encounters with less industrialised cultures. Science fiction, too, and imagination of time-travel, was both symptomatic yet partly redemptive of horological stress. There remained, however, numerous (often historical) novels by authors such as Gabriel García Marquéz, Salman Rushdie, Alasdair Gray and Thomas Pynchon – re-examining, in Mason & Dixon, C18th practices of global measurement – still concerned with the stresses clockwork chronology imposed on modern history.
La hantise du rien comme envers de l’H/histoire chez Graham Swift : Waterland et Ever After