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The preface frames the argument around international influences on “British” writing, the novel’s expansive generic range, and its transformation from eighteenth-century public expression to Victorian reconfigurations and later modernist reactions. 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NOVEL..LACIVERT  \nPENGUIN BOOKS  \nPENGUIN BOOKS  \nPublinhed by the Penguin GroupPenguin Bookas Lud,27Wrightu Lane,London Wa5TZ,EnglandPenguin Boolas USAInc,375 Hudson Sreet,New York,New York 10014,USAPenguin Books Autralin Lad,Ringwood,Vicoris,AuatrzliPenguin Boola Canada Lt,10 Aleorn Avenue,Toronto,Ontario,Canada M4V 3B2Penguin Bools NZ)Lud,182-190 Wairau Road,Auckland 10,New Zealand  \nPenguin Bcois Iad,Rezistered Officex Harmondrworth,Middlctex,England  \nFirt publihed by Secker&Warburg Lad 1993Publiahed in Penguin Bools 199413579108642  \nR  \n26  \nCopyrighto Malcolm Eradbury,1993Al right reerved  \nThe moral right of the uuthor has been auerted  \nPzinted in England by Clay Ld,St Ivea pl  \nExcept n the United States ofAmeric,thi bokin aold mubjectto the condition chati hbll not;byway of rade or otherwiae,be lent,re-sold,Liredout,or ocherwine circuliatedwithout the publiche'sprior conzent in any form of binding or cover other than that inwhich it ia poubliabed and without a imilar condiuion including thisconditicn being impoued on the nubsequent purchaser  \n227780  \nPR881 B68  \nMETULIBRARY  \nThe modern Britlsh novel  \n0020043475  \nIn memory ofAngela Carter,William Golding and Angus Wilson  \nContents  \nix Preface  \nONE 1 The Turn of the Novel,1878-1900  \nTwo 67 The Opening World,1900-1915  \nTHREE 137 The Exciting Age,1915-1930  \nFOUR 203 Closing Time in the Gardens,1930-1945  \nFIVE 264 The Novel No Longer Novel,1945-1960  \nSIx 335 The Sixties and After,1960-1979  \nSEVEN 394 Artists of the Floating World,1979 to thePresent  \n449 Coda:An Afterword from the Nineties  \n463 The British Novel since 1876:A List of Major Works  \n489 Select Bibliography  \n503 Index  \nPreface  \nThis book is about the British novel-perhaps I had better saythe novel as it has developed in Britain-over the remarkable,enormously productive hundred years from the end of the lastcentury to our own present end-of-century.A hundred years isa long time in the history of the novel,and ours has been acentury of profound and turbulent change.Not surprisingly,then,all the terms of my title-with the possible exception ofthe definite article-are contentious,or as we say now contested.“Modern”has a weak and a strong meaning,referring both toan overall period,the “modern”century,ours,and to adistinctive tradition of avant-garde literary and artistic exper-iment.As will soon be seen,I am interested in the intricaterelations that have developed between these two.\"British\"is aterm open to many arguments,not least because many of themost important novelists sailing under this fiag of convenienceare not British at all.Henry James was American,Conrad wasPolish,George Moore and James Joyce were Irish,WyndhamLewis was born on a ship at sea;many of the writers we claimtoday as part of British writing have names like Ishiguro,Okri,Rushdie,Mo,Kureishi and Zameenzad.Meanwhile manyBritish writers live and think elsewhere,and have seen theirtradition very much from the outside.However far we go backthe“English”or,to use the now preferred term,“British”tradition has always been in some basic sense international,linked with travel,exile,emigration and exterior influence.Andthe idea of reading any literature;even one as eclectic and pluri-cultural as the British,in national terms has increased indificulty in our nternational,global-village age.Even so,I  \nassume there are certain shaping aspects to a national tradition,though many writers are constantly diverting from it.I havesimply been pragmatic here,including writers when they seemimportant or fundamental to the notion of a shaping tradition(like James,Conrad orJoyce),but not encompassing those whoare nowadays best seen in the light of some other lineage-asare,I think,writers like Patrick White,Nadine Gordimer,orChinua Achebe.  \nThe word “novel”-the term itself suggests it-has alwaysdescribed a loose ","cbCaiuLT216qfPJG","https://ap.wps.com/l/cbCaiuLT216qfPJG","pdf",26085400,542,"English","# Preface\n## The Turn of the Novel, 1878-1900\n## The Opening World, 1900-1915\n## The Exciting Age, 1915-1930\n## Closing Time in the Gardens, 1930-1945\n## The Novel No Longer Novel, 1945-1960\n## The Sixties and After, 1960-1979\n## Artists of the Floating World, 1979 to the Present\n## Coda: An Afterword from the Nineties\n## The British Novel since 1876: A List of Major Works\n## Select Bibliography\n## Index","[{\"question\":\"What does the book claim about the meaning of “modern” and why is it contested?\",\"answer\":\"It argues that “modern” has both a period sense and a tradition sense, referring to the modern century and avant-garde experimentation, so the term is inherently contested.\"},{\"question\":\"Why is the term “British” described as open to argument?\",\"answer\":\"The preface notes that many key novelists associated with British writing were not British, and that the tradition has always been international, shaped by travel, exile, and exterior influence.\"},{\"question\":\"How does the preface describe the novel’s nature and how it has changed over time?\",\"answer\":\"It portrays the novel as a flexible, “loose and baggy” form covering many genres, then traces its shift from eighteenth-century public expression to Victorian roles and later modern reactions that questioned Victorian notions of morality and “the real.”\"}]","THE MODERN BRITISH NOVEL - Preface - Introduction | PDF",1789949108,835]