G K Chesterton London And Modernity

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton's writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton's work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

This book comprehensively rethinks the relationship between G.K. Chesterton and a range of key literary modernists. When Chesterton and modernism have previously been considered in relation to one another, the dynamic has typically been conceived as one of mutual hostility, grounded in Chesterton’s advocacy of popular culture and modernist literature’s appeal to an aesthetic elite. In setting out to challenge this binary narrative, Shallcross establishes for the first time the depth and ambivalence of Chesterton’s engagement with modernism, as well as the reciprocal fascination of leading modernist writers with Chesterton’s fiction and thought. Shallcross argues that this dynamic was defined by various forms of parody and performance, and that these histrionic expressions of cultural play not only suffused the era, but found particular embodiment in Chesterton’s public persona. This reading not only enables a far-reaching reassessment of Chesterton’s corpus, but also produces a framework through which to re-evaluate the creative and critical projects of a host of modernist writers—most sustainedly, T.S. Eliot, Wyndham Lewis, and Ezra Pound—through the prism of Chesterton's disruptive presence. The result is an innovative study of the literary performance of popular and ‘high’ culture in early twentieth-century Britain, which adds a valuable new perspective to continuing critical debates on the parameters of modernism.

This volume contains all of G.K. Chesterton's columns in The Illustrated London News from 1932 to 1934. Most of the weekly articles have never been printed in book form until Ignatius Press undertook to do the collected works. Chesterton lovers will be delighted to find this treasure filled with jewels quite the match of his best writing. The breadth and depth of his knowledge - from history to politics to English fads and conventions - never fail to impress, and his wit is as refreshing as when these pieces were first written.

'Against Anarchy' investigates the function of Anarchism in Early Modernist political fiction. The study explains how political novels from 1886 to 1911 narrate and evaluate the function of Anarchists as embodiments of a radical space beyond politics. The literary prevalence of Anarchists has so far not been connected systematically to its literary and political functions. The study addresses this research gap in detailed analyses of a radical theme in narratives by Joseph Conrad, Henry James, and G.K. Chesterton. It shows that each novel presents strategies of demarcation that allow turn-of-the-century Britain to project its cultural anxieties upon an imagined other, the dreaded figure labelled ‘Anarchist’. The political radical is set up as the foil against which comforting self-descriptions can be maintained. Rather than merely reproducing this boundary work, however, the novels also evaluate its function, both for the respective political system and for their own narrative capabilities — and present the consequences incurred by the loss of an anarchist outside. 'Against Anarchy' is a thorough cultural historiography of the politically other and marginal. At the same time, the study demonstrates that close attention to the specific literary image of Anarchism allows for a re-evaluation of political thought beyond its immediate historical moment — a literary political theory in its own right.

CONTENTSA FIRST WORD 5PART I NEW LONDON 8I. ON BRIGHT OLD THINGS 8II. ON CALLING NAMES 14III. ON KEEPING YOUR HAIR ON 20IV. THE COWARDICE OF COCKTAILS 28V. GATES AND GATE-CRASHERS 37VI. THE UNPSYCHOLOGICAL AGE 46VII. THE TRUE VICTORIAN HYPOCRISY 53VIII. MARRIAGE AND THE MODERN MIND 60PART II NEWER YORK 67I. THE AMERICAN IDEAL 67II. A PLEA FOR PROHIBITION 74III. WHICH IS THE GOVERNMENT? 77IV A MONSTER: THE POLITICAL DRY 81V. BERNARD SHAW AND AMERICA 89VI. THE CASE AGAINST MAIN STREET 94VII. THE CASE FOR MAIN STREET 102VIII. THEY ARE ALL PURITANS 113IX. SKYSCRAPERS 121X. AND WHAT ABOUT THE QUAKERS? 125XI. ABRAHAM LINCOLN IN LONDON 130XII. UNKNOWN AMERICA 135XIII. WHAT OF THE REPUBLIC? 140XIV. RETURN TO THE VISION 150PART III OTHER ESSAYS 159I. THE SPIRIT OF THE AGE IN LITERATURE 159II. THE MIDDLEMAN IN POETRY 172III. SHAKESPEARE AND SHAW 181IV. BERNARD SHAW AND BREAKAGES 186V. THE POPULARITY OF DICKENS 191VI. MAGIC AND FANTASY IN FICTION 195

What is 'style', and how does it relate to thought in language? It has often been treated as something merely linguistic, independent of thought, ornamental; stylishness for its own sake. Or else it has been said to subserve thought, by mimicking, delineating, or heightening ideas that are already expressed in the words. This ambitious and timely book explores a third, more radical possibility in which style operates as a verbal mode of thinking through. Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, style is conceived here as having the capacity to clarify or generate thinking. The book's generic focus is on non-fiction prose, and it looks across the long nineteenth century. Leading scholars survey twenty authors to show where writers who have gained reputations as either 'stylists' or as 'thinkers' exploit the interplay between 'the what' and 'the how' of their prose. The study demonstrates how celebrated stylists might, after all, have thoughts worth attending to, and that distinguished thinkers might be enriched for us if we paid more due to their style. More than reversing the conventional categories, this innovative volume shows how 'style' and 'thinking' can be approached as a shared concern. At a moment when, especially in nineteenth-century studies, interest in style is re-emerging, this book revaluates some of the most influential figures of that age, re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers, style, and stylists.

A collection of critical essays on G.K. Chesterton's work.

The rise of the New Right and the collapse of state communism in 1989 has fundamentally changed political thinking in the late twentieth century. Rodney Barker has revised and extended his classic text - Political Ideas in Modern Britain - in the light of these changes. His accessible account of political thinking in Britain since the 1880s now includes detailed analysis of: * the demise of traditional conservatism and socialism * the rise and decline of the New Right * the growth of feminism, liberalism and pluralism Political Ideas in Modern Britain charts the changing intellectual landscape of political thinking, illustrating how contemporary political thought is both rooted in tradition and a radical transformation of it. Whether the future is liberal, communitarian, pluralist, or simply uncertain, this is an essential guide for students of British politics. Rodney Barker is Senior Lecturer in Government at the London School of Economics and Political Science.