Modern Literature (1832-1945)

1. Victorian Period (1832-1901)

2. The Modern period (1890-1945?)
• The Inter- war period (1918-1939)
• The Mid 20th century (1939 onwards)
3. Postmodern Period (1945 onwards ?)
 Chronological sequence of Events
(1832-1945)
1832 Reform Act

1837 Death of William IV; Accession of Queen Victoria I

1850 Papal Aggression (following re-establishment of Roman Catholic

hierarchy in England)

1851 Great Exhibition

1854 Crimean War Breaks Out

1857 Indian Sepoy Mutiny

1858 India transferred to British Crown

1859 Publication of Charles Darwin’s Origin of Species

1861 Outbreak of American Civil War

1875 Agricultural Depression

1901 Death of Queen Victoria; Accession of Edward VII

1906 Liberal Government Elected

1910 Death of Edward VII ; Accession of George V

1914-1918 First World War

1921 Irish Free State Established

1922 Fascism takes power in Italy

1924 First Labour Government

1929-30 World Economic Depression

1931 Fall of Labour Government ; National Government formed

1933 Hitler becomes Chancellor of Germany

1936 Death off George V ; Accession of Edward VIII ; Abdication Crisis ;

Accession of George VI

1939 Outbreak of Second World War

1945 End of Second World War ; Labour Government returns to power

 Victorian Period
• While the country saw economic progress, poverty and
exploitation were also equally a part of it.
• The gap between the rich and the poor increased
significantly and the drive for material and commercial
success was seen to propagate a kind of a moral decay
in the society itself.
• The changing landscape of the country was another
concern. While the earlier phase of Romanticism saw a
celebration of the country side and the rich landscape
of the flora and fauna, the Victorian era saw a changing
of the landscape to one of burgeoning industries and
factories.
• While the poor were exploited for their labor, the
period witnessed the rise of the bourgeoisie or the
middle class due to increasing trade between Britain
and its colonies and the Reform Bill of 1832 strengthen
their hold.
• There was also a shift from the Romantic ideals of the
previous age towards a more realistic acceptance and
depiction of society
• One of the most important factors that defined the age
was its stress on morality. Strict societal codes were
enforced and certain activities were openly looked
down upon. These codes were even harsher for women.
• A feminine code of conduct was levied on them which
described every aspect of their being from the proper
apparels to how to converse, everything had rules.
• The role of women was mostly that of being angels of
the house and restricted to domestic confines.
• Professionally very few options were available to them
as a woman could either become a governess or a
teacher in rich households. Hence they were financially
dependent on their husbands and fathers and it led to a
commercialization of the institution of marriage.
 Victorian Novel
• Victorian Era is seen as the link between
Romanticism of the 18th century and the realism
of the 20th century.
• The novel as a genre rose to entertain the rising
middle class and to depict the contemporary life
in a changing society.
• The growth of cities, a ready domestic market and
one in the oversea colonies and an increase in
printing and publishing houses facilitated the
growth of the novel as a form.
• In the year 1870, an Education Act was passed
which made education an easy access to the
masses furthermore increasing literacy rates
among the population.
• The novels of the age mostly had a moral strain in them
with a belief in the innate goodness of human nature.
• The characters were well rounded and the protagonist
usually belonged to a middle class society who
struggled to create a niche for himself in the industrial
and mercantile world.
• The stress was on realism and an attempt to describe
the daily struggles of ordinary men that the middle
class reader could associate with.
• The moral tangents were perhaps an attempt to rescue
the moral degradation prevalent in the society then and
supplied the audience with hope and positivity.
• These moral angles allowed for inclusion of larger
debates in fiction like the ones surrounding “the woman
question”, marriage, progress, education, the Industrial
Revolution.
• New roles for women were created because of the
resultant economic market and their voice which
was earlier not given cadence was now being
spotted and recognized and novels became the
means where the domestic confinement of women
was questioned.
• Novels reflecting the larger questions surrounding
women, like those of their roles and duties.
• In the latter half of the century, Married Women’s
Property Acts was passed, the women suffrage
became an important point of debate, and poverty
and other economic reasons challenged the
traditional roles of women. The novel as a form
became the medium where such concerns were
raised.
 The Mid-nineteenth century
Thackeray, Dickens, The Brontes.
• While the romantic movement discovered and articulated the
moral potency of the child, it was the Victorian novel which
produced the first sustained portrayals of children in literature
• Of the major novelist of the period, William Makepeace
Thackeray is probably least directly concerned with children,
though his novel, Vanity Fair make use of significant incidents
from the childhood of his protagonists.
• He is often astute and original in his perception of his
character’s psychology, his main strengths as a writer lay in
his sharp eye for the particular kinds of human weakness
thrown up by a newly complex society and his ability, in
Vanity Fair at least, to bind all levels of the social structure
into a comprehensive vision of moral and spiritual inadequacy.
• When Charlotte Bronte described him as “the first social
regenerator of the day”, she was responding to qualities which
were abundantly present in his early work but which faded
notably in his later career.
• It was Dickens more than any other Victorian novelist who
exploited the possibilities of the child as symbol of innocence
amidst corruption, and this is one major factor which has led
to accusations of sentimentality in his works.
• A catalogue of his maltreated but morally reformativve
children in his novels suggests a preoccupation with the
innocence of childhood which could add weight to such as
accusation, and it is largely true that Dickens’ children are
exempt from the barbs of humorous exposure with which he
mercilessly illuminates the grotesque flaws in most of his
characters’ compositions.
• Dickens while anatomizing the evils of society with unique
imaginative power, had characteristically Victorian belief in the
possibility of unsullied goodness and it is generally he heroines of
his novels who provide examples of its morally regenerative force.
• Whatever may be reclaimed for Dickens’ reputation in the portrayal
of women, though, he can never hope to rival the Brontes in this
area.
• Anne Bronte less talented and original than her sisters, still writes
movingly and perceptively about the loneliness of the governess in
Agnes Grey, and adds new dimension to the depiction of marital
misery in The Tenant of Wildfell Hall.
• Emily Bronte’s only novel, Wuthering Heights, is generally
recognized to transcend normal moral and spiritual expectations.
• Charlotte Bronte works more within the bounds of recognizable
society, produces original depictions of women which are overtly
hostile to contemporary ideals.
 The mid-Victorian period: George Eliot
• It is gratifying to reflect that arguably the first intellectual among
major English novelists was a woman.
• George Eliot, deeply involved in and influenced by the
philosophical and scientific movements of the time, she lost her
religious faith in early womanhood but retained a profound sense
of moral imperatives in a secular context.
• In common with many of her contemporaries, her interests
focused on history and on modern attempts to arrive at systematic
descriptions of social, religious and intellectual evolution.
• Virginia Woolf described Eliot’s Middlemarch as one of the few
English novels written for grownup people, she was deftly
defining the degree to which Eliot’s fiction makes demands of
serious moral response in a readership which could previously
have rested happily within the safe bounds of entertaining
diversion.
 Hardy and the late 19 century th

• Hardy’s fiction derived from his unusual combination of

a countryman’s pragmatism with a self-educated
intellectualism.
• As the creator of the semi-fictional world of Wessex,
Hardy became the most significant regional novelist of
the age and, with his unrivalled knowledge of the local
customs and accents of his native land, was in a better
position than any other writer to chart the changes in
agricultural communities under the various dramatic
shocks of 19th century change.
• He has an eye for nature which is at once entirely
unsentimental and supremely observant.
• Throughout his career Hardy found himself embroiled
in battles against the prudish sensibilities of his
readership and as his later novels began to engage more
directly with contemporary questions of sexual
morality, he was drawn, apparently protestingly, into
fervent debates about women, sex and marriage.
• His views of the human condition, though, are more
comprehensively tragic than would be suggested by
confining him to immediate social criticism.
• Hardy in many senses the last of the great Victorian
novelists. During the final years of the century it was
his reputation, together with the more warily expressed
admiration for Meredith, which dominated English
fiction.
• About other novelists the debate about the
relationship between romance and realism continued
to be waged, with Gissing and Moore as the prime
realists vying with exotic romances of, for example,
R L Stevenson, and H Rider Haggard.
• The vitality of the novel form was undiminished both
in its challenge to social and moral convention and in
its sheer inventiveness in entertainment.
• In literary terms, it was Henry James, with his
infinitely sophisticated narrative and Joseph Conrad’s
modernism, which pointed the way forwards into 20th
century developments of the novel as a form of art.
 Victorian Novelists
Charles Dickens (1812-70) Sketches of Boz (1836)
The Pickwick Papers (1836)
Oliver Twist (1837)
Nicholas Nickleby (1838)
The Old Curiosity Shop (1840)
Barnaby Rudge (1841)
American Notes (1842)
Martin Chuzzlewit (1843)
A Christmas Carol (1843)
Dombey and Son (1846)
David Copperfield
Bleak House (1852)
Hard Times (1854)
House Words
Little Dorrit (1855)
A Tale of Two Cities (1859)
Great Expectations (1860)
All the Year Round
Our Mutual Friend (1864)
The Mystery of Edwin Drood (unfinished)
William Makepeace The Yellowish Correspondence (1837-38)
Thackeray (1811-63) The Book of Snobs (1849)
The History of Samuel Titmarsh and the Great
Hoggarty Diamond (1841)
The Fitzboodle Papers (1842-43)
The Memoirs of Barry Lyndon (1844)
Vanity Fair (1847-48)
The History of Pendennis (1848-50)
The History of Henry Esmond (1852)
The New-comes (1853-55)
The Virginians (1857-59)
Lovel the Widower (1860)
The Adventures of Philip (1861-62)
Denis Duval (unfinished)

Charlotte Bronte (1816-55) The Professor

Jane Eyre (1847)
Shirley (1849)
Villette (1853)

Emily Bronte (1818-48) Wuthering Heights (1847)

Anne Bronte (1820-49) Agnes Grey (1847)

The Tenant of Wildfell Hall (1848)
George Eliot (1819-80) Adam Bede (1859)
The Mill on the Floss (1860)
Silas Marner: the Weaver of Raveloe (1861)
Romola (1863)
Felix, Holt the Radical (1866)
Middlemarch: A Study of Provincial Life (1871-
72)
Daniel Deronda (1876)
George Meredith The Ordeal of Richard Feverel (1859)
(1828-1909) Evan Harrington (1861)
Emilia in England (1864)
Rhoda Fleming (1865)
Vittoria (1867)
The Adventures of Harry Richmond (1871)
Beauchamp’s Career (1876)
The Egoist (1879)
The Tragic Comedians (1880)
Diana of the Crossways (1885)
One of our Conquerors (1891)
The Amazing Marriage (1895)
Benjamin Disraeli (1804-81) Vivian Grey (1826-27)
The Voyage of Captain Popanilla (1828)
Contarini Fleming: A Psyschological Autobiography
(1832)
Henrietta Temple (1837)
Coningsby: or the New Generation (1844)
Sybil: or The Two Nations (1845)
Tancred: or the New Crusade (1847)

Edward Bulwer-Lytton Falkland (1827)

(1803-73) Pelham, or the Adventures of a Gentleman (1828)
Paul Clifford (1830)
The Last Days of Pompeii (1834)
Rienzi, the Last of the Roman Tribunes (1835)
Harold, the Last of the Saxons (1848)
The Caxtons: A Family Picture (1849)
My Novel (1853)
A Strange Story (1862)
The Coming Race (1871)

Charles Reade (1814-84) Hard Cash (1863)

Griffith Gaunt, or Jealousy (1866)
Foul Play (1868)
Anthony Trollope (1815-82) The Kellys and the O’Kellys (1848)
The Warden (1855)
Barchester Towers (1857)
Doctor Thorne (1858)
Framley Parsonage (1861)
The Small House at Allington (1864)
The Last Chronicle of Barset (1866-67)
Phineas Finn (1869)

Wilkie Collins (1824-89) The Dead Secret (1857)

The Woman in White (1860)
No Name (1862)
The Moonstone (1868)

Charles Kingsley (1819-75) Alton Locke, Traitor and Poet (1850)

Yeast, a Problem (1848)
Hypatia, or New Foes with an Old Face (1853)
Westward Ho! (1855)
Two Years Ago (1857)
Hereward the Wake, ‘Last of tehEnglish’ (1866)

Walter Besant (1836-1901) Ready-Money Mortiboy (1872)

James Rice (1844-82) The Golden Butterfly (1876)
George Borrow (1803-81) The Bible in Spain (1843)
Lavengro (1851)
The Romany Rye (1857)
Wild Wales (1862)

Richard D. Blackmore Lorna Doone (1869)

(1825-1900) The Maid of Sker (1872)
Cripps the Carrier (1876)

Robert Louis Stevenson An Inland Voyage (1878)

(1850-94) Travels with a Donkey in the Cevennes (1879)
Virginibus Puerisque (1881)
The New Arabian Nights (1882)
Treasure Island (1883)
The Strange Case of DR Jekyll and Mr Hyde
(1886)
Kidnapped (1886)
The Black Arrow (1888)
The Master of Ballantrae (1889)
Cartriona (1893)
The Black Arrow
Weir of Hermiston
Mrs Elizabeth Cleghorn Mary Barton, A Tale of Manchester Life
Gaskell (1848)
(1810-65) North and South (1855)
Wives and Daughters (1866)
Cranford (1853)
Thomas Hardy (1840- Under the Greenwood Tree (1872)
1928) A Pair of Blue Eyes (1873)
Far from the Madding Crowd
The Hand of Ethelberta (1876)
The Return of the Native (1878)
The Trumpet Major (1880)
A Laodicean (1881)
Two on a Tower (1882)
The Mayor of Casterbridge (1886)
The Woodlanders (1887)
The Well-Beloved (1892)
Tess of the D’Urbervilles (1891)
Jude the Obscure (1895)
 The Modern Period
• In all the previous periods experimentation and
individualism were highly discouraged but With the onset
of the modern period both these things became virtues.
• Modernism is a quite unique and complex movement in
almost all the creative areas.
• When the first World War ended, a number of literary
trends of the modern period such as dadaism, stream of
consciousness, futurism, cubism, expressionism and
imagism emerged.
• The foundation of modernism lies in the theory of
psycho-analysis and irrational philosophy. One of the
main characteristics of modern period is “the
dehumanization of art”.
 Culture and Reality: James and Conrad
• Henry James and Conrad are the earliest of the great modernist
novelists writings in English.
• One form of cross-fertilization is evident at once, in that James
was born an American and Conrad a Pole.
• Each chose to settle in England and to become an English subject
and for each the collision of different cultures was an important
theme.
• James’ fiction contains the moral consequences of the meeting of
American innocence and enthusiasm with a sophisticated but
corrupt European culture, which are explored by means of irony, a
sustained attention to the nuances of individual consciousness,
and a prose style of increasing subtlety and complexity.
• It is in their technique that James and Conrad are most
revolutionary.
• Influences on his work include Jane Austen, George Eliot,
Nathaniel Hawthorne, Balzac and Turgenev.
• Conrad’s life as a merchant seaman , and his upbringing in
Poland and Russia, brought him into contact with a wide range
of cultures.
• His prose style owes much to the influences of the 19th century
French writers Maupassant and Flaubert, and in a number of
his works he explores what was to become a major concern of
the 20th century English novel: the experience of the European
in Asia, Africa or South America.
• Conrad’s critique of the ideology of Empire also foreshadows
the many later works of fiction which use colonial or post-
colonial settings to explore the European mind through its
contact with what is alien and with what is shared in other
cultures, while protesting against bigotry and exploitation.
 History and Art: Lawrence and Woolf
• The relationship of history and the novel may be formulated in
two ways. On the one hand, one may regard history as an
objective series of public events, and the novel as an art form
which may represent, ignore or fictionalize them.
• On the other hand, one may regard history itself as a narrative,
and its relation with the novel as more reciprocal, our sense of
historical pattern and meaning and vice versa.
• Modernism is sometimes accused of ignoring historical and
social realities. But the sense of living in a period of historical
crisis is an important aspect of much modernist fiction.
• The apocalyptic world view which the critic Frank Kermode
has identified in the work of D H Lawrence is at once a
reaction to accelerating social change and an expression of a
mystical or prophetic view of the role of the artist, influenced
by the Bible.
• Just as James’ novels seem to take place in a theatre of
consciousness which is his unique discovery, so a considerable part
of Lawrence’s achievement is his development of a wholly new
way of writing about human experience.
• It is a feature of modernist narratives to order their material by
symbol, pattern or metaphor rather than by the linear sequence of
history. If the patterns to which history conforms are for Lawrence
apocalyptic and typological, for Virginia Woolf they are the
patterns of art and of human sensibility.
• In Woolf’s work the stream of consciousness technique moves
towards a radical view of the nature of the self, which is of
particular importance for feminist writing.
• Her interest in androgyny, her sense of the social protest which
madness can represent and her satire on repressive psychiatric
practices in Mrs Dalloway have also remained points of reference
for feminist writers, although there is disagreement to how far she
tended to withdraw form political issues.
 Phases of Modernism: Forster and
Joyce
• E M Forster’s work is frequently regarded as
containing both modernist and Victorian elements .
• His social comedy, his narrative technique and his
humanism associate him with more traditional strains
in the English novel while his sense of threatened
continuity in English life and change is distinctively
modernist, as is the location of renewal and
reconciliation in the realm of the symbolic and the
imagination.
• While Forster made a contribution to both phases of
modernism, the main figures of this post-war phase
are Lawrence, Joyce and Woolf.
• Joyce’s Ulysses is a central text of modernism. A novel of
over 600 pages concerned with one day in Dublin, it has
an amazing richness of texture, combining mythical and
literary allusions, parody and pastiche, punning and
humour, with a powerful sense of the infinite complexity
and subtlety of the individual’s emotional and intellectual
life.
• The novel encountered virulent opposition at the time of
publication.
• Its acceptance into the canon of major works of English
Literature, together with the successful defense of
Lawrence’s Lady Chatterley’s Lover at a 1960 obscenity
trial, signaled the public endorsement of the principle that
all areas of human experience could be valid subjects for
the serious artist.
 The Realist Tradition: Bennett, Galsworthy,
Wells
• As Frank Kermode has pointed out, modernist programmes
have the habit of claiming that they have to “get out from
under something”, and Bennett, Galsworthy, and Wells were
cast in the role of that ‘something’.
• Wells himself participated in this process in his well-known
comment in a letter to Henry James (8 July 1915): “To you
literature like painting is an end, to me literature is a means, it
has a use… I had rather be called a journalist than an artist”.
• Nevertheless, there are some affinities between the realists and
the modernists in terms of influences and subject matter:
Bennett was influenced by French and Russian novelists,
Wells, in his scientific romances, shows a strong sense of the
apocalyptic and of the impact of War and technology on 20th
century society.
• These writers are also part of important continuities in English
fiction.
• Wells’ emphasis on ideas is continued by Aldous Huxley and
George Orwell, while Bennett’s regional settings in the
Potteries district connect him with the regional realists of the
1950s.
• Wells was also a pioneer of science fiction, one of the most
fruitful of the popular genres in the 20th century novel.
• Like Bennett, Galsworthy was extremely popular and
successful during his lifetime. The most general criticism of
his work is that his satire is often lacking in focus and rigour.
• George Orwell, who considered Well’s thinking to be
outmoded by the 1940s, nevertheless asserted of his own
generation that "the minds of us all, and therefore the physical
world, would be perceptiby different if Wells had never
existed”
 1920s satire: Lewis, Huxley and Waugh
• Alongside the modernist experimentation of the 1920s a
vein of tragicomic satire emerged in the English novel
in the work of Huxley, Wyndham Lewis and Evelyn
Waugh.
• These authors shared a sense of the absurdity of modern
society, and one form which this takes in their novels is
that of dehumanization and the dissolution of the self.
• The works of these writers contain images of the
modern world as manic, mechanized and
incomprehensible; they are essentially about the
problem of how to live in a society which seems
meaningless.
• The stance of the implied author (the author as he is
manifest in the text) varies: Huxley tends to include
some equivalent for himself in the novel, thereby
making his own intellectual approach part of the
object of his satire;
• Waugh is detached and invisible; Lewis is outraged,
polemical and assertive.
• Drawing on the tradition of such European writers as
Voltaire, Gogol and swift, they represent a powerful
alternative vision of the modern condition.
 The 1930 to 1950
• In the 1930s and 1940s political events were felt in English
prose writing with a particular directness. The impact of World
War I and the associated social changes on the modernist novel
tended to take place primarily at the level of the author’s
general world view, and to filter through into the content of the
novel transformed by some principle of artistic shaping.
• The period was one in which social or documentary realism
reasserted itself; that form of realism which is concerned with
an outward fidelity to the experience of the mass of individuals
and an engagement with public issues.
• Individual authors continued or commenced their literary
careers, responding in a variety of ways to their own
experiences, influences and interests as well as to the temper of
the times.
 The approach of war: Orwell and Isherwood
• In the public sphere the 1930s were dominated by two factors.
The first was the economic depression which, from the
collapse of the Wall Street Stock Market in 1929, began to
cause widespread unemployment and poverty.
• The second was the rise of fascism in Europe: Hitler seized
power in Germany in 1933; in Italy Mussolini had ruled since
1922; in 1932 Sir Oswald Moseley founded the British Union
of Fascists.
• The most coherent ideological response to both these
developments came from the left wing, so that during
the1930s a considerable number of British writers and
intellectuals became socialists or communists.
• George Orwell, a socialist, though a very independent
one, described the 1920s as “a period of
irresponsibility such as the world has never before
seen”
• His own writings seek to bring home to readers the
human consequences of the economic and political
situation: the soul-destroying nature of poverty, the
miseries of war and the distortions of the press and
the oppression of British imperialism.
• During the 1930s many writers and intellectuals had
become Marxists, and a considerable number fought
for the Republicans in the Spanish Civil War.
• The dangers of oversimplification inherent in
an antithesis between a modernist
concentration on the individual inner world,
and a politically committed attention to social
relations become evident when the works of
Graham Greene is considered.
• The complex interplay of modernist
experiment and the impulse towards social
realism and political commitment was to
contribute to a remarkable diversity of modes
in fiction of the post-war era.
 Novelists of the Modern Period
Henry James (1843-1916) Roderick Hudson (1875)
The American (1876-77)
The Europeans (1878)
The Portrait of a Lady (1881)
The Tragic Muse (1890)
The Spoils of Poynton (1897)
The Awkward Age (1899)
The Wings of the Dove (1902)
The Ambassadors (1903)
The Golden Bowl (1904)
Washington Square (1881)
The Bostonians (1886)
What Maisie Knew (1897)
The Sense of the Past (unfinished)
The Ivory Tower (unfinished)
Joseph Conrad (1857-1924)
Herbert George Wells (1866-
1946)
Almayer’s Folly
An Outcast of the Islands (1896)
The Nigger of the Narcissus (1897)
Tales of Unrest (1898)
Lord Jim: A Tale (1900)
Nostromo A Tale of the Seaboard (1904)
The Mirror of the Sea Memoirs and Impressions
(1906)
The Secret Agent A Simple Tale (1907)
A Set of Six (1908)
Under Western Eyes (1911)
The Arrow of God (1919)
The Rescue (1920)
The Rover (1923)
The Time Machine (1895)
The Wonderful Visit (1895)
The Islands of Dr Moreau (1896)
The Invisible Man (1897)
The War of the Worlds (1898)
When the Sleeper Awakes (1911)
The First Men in the Moon (1901)
Kipps (1905)
Herbert George Wells (1866-1946)
Samuel Butler (1835-1902)
George Moore (1852-1933)
Tono-Bungay (1909)
Ann Veronica (1909)
The History of Mr Polly (1910)
The New Machiavelli (1911)
Mr Britling sees it through (1916)
Marriage (1912)
The Passionate Friends (1913)
Erewhon (1872)
Erewhon Revisited (1901)
The Way of All Flesh (1903)
A Modern Lover (1883)
A Mummer’s Wife (2885)
A Drama in Muslin (1886)
Spring Days (1888)
Esther Waters (1894)
Evelyn Innes (1898)
Sister Teresa (1901)
The Untilled Field (1903)
The Lake (1905)
The Brook Kerith (1916)
Heloise and Abelard (1921)
Aphrodite in Aulis (1930)
George Robert Gissing (1857-
1903)
Enoch Arnold Bennett (1867-
1931)
Rudyard Kipling (1865-1936)
Demos, a Story of English Socialism
(1886)
Thyrza (1887)
The Nether World (1889)
New Grub Street (1891)
The Private Papers of Henry Ryecroft
(1903)
The Old Wive’s Tales (1908)
Clayhanger (1910)
Hilda Lessways (1911)
These Twain (1916)
Plain Tales from the Hills (1888)
Soldiers Three (1888)
The Phantom Rickshaw (1888)
Wee Willie Winkle (1888)
The Jungle Book (1894)
The Second Jungle Book (1895)
Captains Courageous (1897)
David Herbert Lawrence (1885-
1930)
James Joyce (1882-1941)
Virginia Woolf (1882-1941)
The White Peacock (1911)
The Trespasser (1912)
Sons and Lovers (1913)
The Rainbow (1915)
Women in Love (1921)
Aaron’s Rod (1922)
Kangaroo (1923)
The Boy in the Bush (1924)
The Plumed Serpent (1926)
Lady Chatterley’s Lover (1928)
Dubliners (1914)
A Portrait of the Artist as a Young Man (1916)
Exiles (1918)
Ulysses (1922)
Finnegan’s Wake (1939)
The Voyage Out (1915)
Night and Day (1919)
Jacob’s Room (1922)
Mrs Dalloway (1925)
To the Lighthouse (1927)
The Waves (1931)
Flush (1933)
The Years (1937)
Virginia Woolf (1882-1941) Between the Acts (1941)
Orlando, a Biography (1928)
Edward Morgan Forster Where Angels Fear to Tread (1905)
(1879-1970) The Longest Journey (1907)
A Room with a View (1908)
Howards End (1910)
A Passage to India (1924)

Aldous Leonard Huxley The Burning Wheel (1916)

(1894-1963) The Defeat of Youth (1918)
Leda (1920)
Eyeless in Gaza (1936)
Crome Yellow (1921)
Antic Hay (1923)
Those Barren Leaves (1925)
Point Counter Point (1928)
Brave New World (1932)
Graham Greene (1904-1991)
Chales Percy Snow (1905-1980)
Evelyn Waugh (1903-66)
Lionel Poles Hartley (1895-1972)
Anthony Dymoke Powell (1905-?)
Henry Green (1905-69)
It’s a Battlefield (1934)
England Made Me (1935)
Brighton Rock (1938)
The Power and the Glory (1940)
The Heart of the Matter (1948)
The End of the Affair (1951)
The Quiet American (1955)
A Burnt-Out Case (1961)
Strangers and Brothers (1940)
Time of Hope (1949)
The Masters (1951)
The New Men (1954)
Corridors of Power (1964)
Brideshead Revisited (1945)
Eustace and Hilda triology (1944-47)
The Go-Between (1953)
A Question of Upbringing (1951)
Living (1929)
Loving (1945)