Postcards from the Trenches

Postcards from the Trenches : Negotiating the Space between Modernism and the First World War

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Booth offers a complex portrait of the relation between British Great War culture and modernist writings. She notes that unlike civilians, modernist writers and combatants shared a concern with the divide between language and experience, and draws connections between the sensibility of the modernist writer and the soldier, particularly regarding efforts to describe dying and the dead. Her analysis extends to memorials, posters, and architecture of the Great War, though her emphasis is on literary works by Robert Graves, E.M. Forster, Vera Brittain, and more

Product details

  • Hardback | 198 pages
  • 161.5 x 232.7 x 18.8mm | 498.96g
  • Oxford University Press Inc
  • New York, United States
  • English
  • halftones
  • 0195102118
  • 9780195102116
  • 2,002,967

Review quote

This is some of the most interesting interdisciplinary work on World War One-or on any subject, for that matter-that I have seen. It is an important `sequel' to Fussell's still influential Great War and Modern Memory, except that Booth's book, which is on modernist memory, sheds much more light on the particularities of modernism. Throughout, this book offers stunning readings of individual texts or moments. * Susan Schweik, University of California, Berkeley *show more

Back cover copy

In Postcards from the Trenches, Allyson Booth traces the complex relationship between British Great War culture and modernist literature and architecture. By drawing on a wide range of materials and attending to the places where they overlap, Booth uncovers ways in which modernism is deeply embedded in a broader Great War culture. She links, for example, the modernist representation of an unstable self to soldiers' familiarity with corpses, the modernist mistrust for fact to the competing nationalist discourses of August 1914, and the modernist description of buildings as having shaken off the past to a desire to forget the war. Booth argues that the dislocations of war often figure centrally in modernist forms even when the war itself seems peripheral to modernist content. Thus she suggests that soldiers experienced the Great War as strangely modernist and that modernism itself is strangely haunted by the Great more

Rating details

10 ratings
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4 60% (6)
3 10% (1)
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