In this week’s Dispatches from the Secret Library, Dr Oliver Tearle bangs the drum for an undervalued modernist novel
1922 was the annus mirabilis and high point of modernist literature. James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, Katherine Mansfield’s The Garden Party and Other Stories, and Virginia Woolf’s Jacob’s Room were all published. On 18 May 1922, Joyce and Marcel Proust, two titans of the modernist novel in their respective languages, met at a disastrous dinner in Paris; the two writers spent the meal discussing their ailments, before eventually admitting that they hadn’t read each other’s work. Also present at this historic dinner party were Picasso and Stravinsky. 1922 was the point where a number of modernisms appeared to converge and collectively reach their zenith.
Yet this handful of modernist classics fails to tell the full story. 1922 also saw the publication of another modernist novel by a writer who is far less celebrated than Joyce, Woolf, Eliot, or Mansfield. Yet she was an important figure in the movement and even now she is overlooked in our rush to get to Ulysses and to Virginia Woolf’s mature novels. May Sinclair (1863-1946) was, in fact, the one who first applied the psychological term ‘stream of consciousness’ to the work of one of her modernist contemporaries – another novelist often absent from discussions of modernist fiction, Dorothy Richardson. Sinclair championed the work of the Imagist poets led by Ezra Pound, and even wrote a novel in verse using the Imagist method, The Dark Night. Like much of her work, it is seldom mentioned in surveys of modernist literature. Read the rest of this entry
In this week’s Dispatches from The Secret Library, Dr Oliver Tearle investigates the fascinating facts behind some of the greatest detective novels
The rise of detective fiction is a fascinating topic (previously, I’ve chosen 10 of the greatest examples of the genre), and it’s no surprise that a book telling the story of classic crime fiction in 100 books should yield many surprising and interesting facts. This is certainly the case with Martin Edwards’ The Story of Classic Crime in 100 Books (British Library Crime Classics), a beautifully produced book from the British Library which charts the rise of crime fiction during the genre’s ‘Golden Age’ of the first half of the twentieth century.
Over the course of 24 entertaining and accessible chapters, which are based around various themes (including London-based crime fiction, crime fiction in the countryside, the seemingly ‘impossible crime’ of the locked-room mystery, parodies and humorous examples of the genre), Martin Edwards considers some of the most emblematic and readable examples of crime and detective fiction written between 1900 and 1950 (loosely).
As well as telling the story of crime fiction as an overall genre, Edwards also offers mini-histories of not only his 100 chosen novels but also the authors who wrote them. The Story of Classic Crime is packed full of curious biographical trivia, which delve into the alternative lives Read the rest of this entry