1968 ◽  
Vol 63 (2) ◽  
pp. 470
Author(s):  
V. de S. Pinto ◽  
Michael Thorpe

Author(s):  
Sean A. McPhail

The Complete Memoirs of George Sherston is a key text supporting Siegfried Sassoon’s reputation as Britain’s pre-eminent Great War-writer. Critics have nevertheless reached no consensus as to whether these lightly fictionalised “memoirs” represent true accounts of Sherston’s/ Sassoon’s war or fictional constructions. They have also yet to account for the differences between the Memoirs and Sassoon’s war-poetry, and between Sherston’s stated commemorative goals and his complete account. This article dissects the Memoirs’ adaptation of Sassoon’s front-line poetics of commemoration: it reads their new application of this poetics via his compositional difficulties, his dependence upon his own wartime writings, and life-writing’s uneasy relationship to truth. As I show, Sherston has more in common with his author than Sassoon intended, but differences remain; still, his memoirs have as much right to that appellation as any other text in the language.


Author(s):  
María Cristina Pividori

Although the First World War has become history by now, the memory of the war continues to be repeatedly fictionalised: retrospectively inspired narratives are often regarded as more genuine and far-reaching than historical or documentary accounts in their rendition of the past. Yet, memory is creatively selective, reflecting a highly-conflicted process of sifting and discerning what should be remembered, neglected or amplified from the stream of war experience. In his book about Pat Barker, Mark Rawlinson argues that “historical fiction has been transformed in the post-war period by the way writers have exploited the porous and unstable demarcation between fiction and no fiction, stories and history” (14). Jill Dawson’s The Great Lover (2009), Geoff Akers’s Beating for the Light: The Story of Isaac Rosenberg (2006) and Robert Edric’s In Zodiac Light (2008) have not become best sellers like Barker’s Regeneration trilogy; yet, they too represent the predominant commemorative drift in contemporary British fiction about the Great War. Without doubt, these three authors have followed in Barker’s steps in their purpose of holding a mirror to real people and real events in the past and of deciphering the deleted text of ‘the war to end all wars.’ However, while Barker chose to write about the often-anthologised Wilfred Owen and Siegfried Sassoon, Dawson, Akers and Edric base their narratives on the writings, and lives, of Rupert Brooke, Isaac Rosenberg and Ivor Gurney respectively. My discussion of these three novels will explore the various ways in which the past can be accessed and interpreted from the present and represented in fiction. The authors’ decisions as to what historical instances to unravel do not just reveal the relation that contemporary British fiction entertains with the Great War and with history, but also how the past erupts in the present to interrogate it. Taking three salient features of Hutcheon’s “historiographic metafiction” (1988)—intertextuality, parody and paratextuality—as my theoretical points of departure, I will explore the dominant frameworks and cultural conditions (that is the propagation of either patriotic or protest readings) within which the Great War has been narrated in the novels and the new approaches, opportunities and ethical implications of using historical and literary sources to re-scribe a previously non-existent version of the lives of the iconic Great War Poets.


Author(s):  
Mhairi Pooler

Writing Life offers a revisionary exploration of the relationship between an author’s life and art. By examining the self-representation of authors across the schism between Victorianism and Modernism via the First World War, this study offers a new way of evaluating biographical context and experience in the individual creative process at a critical point in world and literary history. Writing Life is also the story of four literarily and personally interconnected writers – Edmund Gosse, Henry James, Siegfried Sassoon and Dorothy Richardson – and how and why they variously adapted the model of the German Romantic Künstlerroman, or artist narrative, for their autobiographical writing, reimagining themselves as artist-heroes. By appropriating key features of the genre to underpin their autobiographical narratives, Writing Life examines how these writers achieve a form of life-writing that is equally a life story, artist’s manifesto, aesthetic treatise and modern autobiographical Künstlerroman. Pooler argues that by casting their autobiographical selves in this role, Gosse, James, Sassoon and Richardson shift the focus of their life-stories towards art and its production and interpretation, each one conducting a Romantic-style conversation about literature through literature as a means of reconfirming the role of the artist in the face of shifting values and the cataclysm of the Great War.


Worldview ◽  
1974 ◽  
Vol 17 (10) ◽  
pp. 14-22
Author(s):  
Mark Taylor

The literature of the First World War, to begin with that one, illustrates a tragic paradox: The most destructive of human enterprises can nourish the most creative. Probably no single event in history allowed the transformation of so many intense personal experiences—often presented for outspokenly didactic reasons or as cries of impotent frustration or as necessary therapy—into works of art that transcended the limited circumstances of their birth. No responsible account of this century's imaginative literature could omit Robert Graves's Good-bye to All That, Ford Madox Ford's Parade's End, William Faulkner's Soldiers' Pay and A Fable, Emest Hemingway's A Farewell to Arms, William March's Company K, Henri Barbusse's Under Fire, Jaroslav Hašek's The Good Soldier: Schweik, Arnold Zweig's The Case of Sergeant Grisha, or the lyric poetry of Wilfred Owen, Isaac Rosenberg, Siegfried Sassoon, and Charles Hamilton Sorley. To this list might be added such seminal works of modernism as T.S. Eliot's The Waste Land, Ezra Pound's Hugh Selwyn Mauberley, and Virginia Woolf's Jacob's Room. These are not “war poems” or “war novels,“ in any narrow sense, but they clearly would not exist had there been no war.


1978 ◽  
Vol 3 (4) ◽  
pp. 33-43 ◽  
Author(s):  
Irene Whalley ◽  
Clive Wainwright ◽  
Sarah Fox-Rtt

The Library of the Victoria and Albert Museum has always collected primary source material. This consists of artists’ letters, diaries, sitters’ books and various personal papers. Or it may be material of a more general kind: inventories, bills, unpublished articles, recipes for paints and varnishes and similar items of use to the Museum departments or to other readers. Occasionally in the past we have been offered material relating to a firm, a person, or a society, which consisted of a mixture of printed matter, photographs, original drawings, manuscript letters etc., which, when received in the Museum, would be divided among the relevant departments — the Library and the Department of Prints and Drawings in particular. The Library continues to acquire manuscript material of the kind mentioned above, and indeed in the last two years has pursued an active policy in this field. As a result we have acquired such varied items as the wardrobe accounts of the Empress Josephine for 1809 (2 large boxes of them), a 16th century herald’s sketchbook, an unpublished history of jade, and a letter from Sir William Nicholson to Siegfried Sassoon agreeing to illustrate ‘Memoirs of a fox-hunting man’. A list of the English accessions is published annually, and all acquisitions are notified to the National Register of Archives. Most of the items were acquired by purchase (e.g. from booksellers’ lists or auction sales), but there have also been some welcome donations.


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