Women's Fiction: From 1945 to Today by Deborah Philips

By Deborah Philips

Now in its moment variation and with new chapters overlaying such texts as Elizabeth Gilbert's consume, Pray, Love and 'yummy mummy' novels comparable to Allison Pearson's I Don't understand how She Does It, it is a wide-ranging survey of well known women's fiction from 1945 to the present.

Examining key tendencies in well known writing for girls in each one decade, Women's Fiction deals case learn readings of significant British and American writers. via those readings, the booklet explores how well known texts usually ignored through feminist literary feedback have charted the transferring calls for, aspirations and expectancies of girls within the twentieth and twenty first centuries.

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Extra resources for Women's Fiction: From 1945 to Today

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Andrew, like Ben and Oliver, denigrates his own heroism as commonplace. Although the novel charts his hospitalization after being shot down, Andrew’s own version of his war is that: ‘He was lucky, he had a war he enjoyed. , p. 318). While Jameson’s Andrew 34 WOMEN’S FICTION: FROM 1945 TO TODAY asserts himself as a lucky man, and sees his wartime survival as a cause for thankfulness, there is nonetheless a stubborn contradiction in the novel’s final lines, where Andrew’s assent to the modern world is given grudgingly: The trick is to be alert – to accept … to be believing, lucid, sceptical, patient, amused, humble.

P. 5). David’s wartime experiences are not dwelt upon, because, as for the British returning soldiers, ‘modesty’ is the valued quality in a man, a modesty that requires silence. For Claudia the war remains an incomprehensible and distant 40 WOMEN’S FICTION: FROM 1945 TO TODAY disruption to normal life: ‘War. War was something she must have dreamed, fabricated out of the monstrous legends of history books. , 1972, p. 15). Like his British comrades in arms, David has returned to his family more fragile than he was.

In the words of the archivists of Franken’s papers, Claudia and David ‘have become part of the contemporary cultural fabric’ of America (Rare Book and Manuscript Library, Columbia University. , accessed 2002). The war does not register at all on Claudia and David’s relationship in the early volumes of the sequence, which were later revised to take more account of historical events. Claudia’s focus in these novels remains entirely on the house and family: ‘she was only vaguely interested in the life that lay outside the house’ (Franken, 1962, p.

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