Elizabeth Bowen and the Politics of Consent
As a novelist preoccupied with the sexualized gothic conventions haunting Irish fiction since the eighteenth century, Bowen persistently turns to the fraught concept of British and Irish women's consent during periods of twentieth-century political violence. This article considers Bowen's use of gothic tropes of consent in The Last September (1929) as well as a more sustained engagement with the Irish gothic, citizen-subjecthood, and the political valence of consent in her WWII thriller, The Heat of the Day (1948). It argues that in formulating consent in relation to knowledge, and in articulating the necessarily contractual nature of consent, Bowen seeks to define the ethics of individual rights and responsibility during and after World War Two.