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15 results

  • Cold War Decolonization

  • Matthew Taunton
  • Journal: Cambridge Journal of Postcolonial Literary Inquiry / Volume 10 / Issue 1 / January 2023
  • Published online by Cambridge University Press: 04 January 2023, pp. 128-133
  • Print publication: January 2023

  • Literary culture after 1945 took shape in a context where a handful of colonial empires were replaced by (at present count) nearly two hundred sovereign nation-states whose domestic politics, foreign policy, and cultural life were profoundly shaped by their relationship to the Cold War superpowers. One of the striking features of the historiography of this post-1945 world is that its two most salient themes—the Cold War, and decolonization—have so often been treated in isolation from each other. Postcolonialism and Cold War studies have, as Monica Popescu tells us, followed “separate, largely non-intersecting paths” (6). Yet even a superficial summary of the key geopolitical developments of the postwar period suggests that the Cold War and decolonization are not just interconnected, but mutually determining. When you take into account the decolonizing world, in some places afflicted by devastating proxy wars in this period, it must be said (it has often been said) that the Cold War was cruelly misnamed. This dual history has shaped our political language. A term like the West, as it is used in academic debates as well as in political, journalistic, and policymaking fields, developed its particular set of associations by contrast with the communist Eastern bloc on the one hand and with the (post)colonial global south on the other. Yet these two versions of the non-Western don’t always line up: although anticolonial movements often sought to align themselves with the international communist movement, many proudly independent postcolonial nation-states were explicitly anti-communist (like the neoliberal regimes in Singapore and South Korea). Other postcolonies grappled with the Soviet Union or the People’s Republic of China as a colonial power.

  • Chapter 2 - Communism

  • from Part I - 1900–1945: Ideas and Governance
  • Edited by Christos Hadjiyiannis, University of Cyprus, Rachel Potter, University of East Anglia
  • Book: The Cambridge Companion to Twentieth-Century Literature and Politics
  • Published online: 01 December 2022
  • Print publication: 15 December 2022, pp 36-53

  • Summary

    Some of the most celebrated writers of the 1930s generation dabbled with Marxist politics, but later renounced their earlier political commitments. A Cold War critical consensus emerged that saw Communism and its socialist realist theory of art as deadening forces, that were incompatible with good writing. Shifting the focus to some less canonical figures, the chapter sees the relationship between Communism and literature in the 1930s as a more productive one. The chapter focuses on three ‘conversion narratives’, whose protagonists move from false consciousness to political commitment: Sylvia Townsend Warner’s Summer Will Show, Mulk Raj Anand’s Untouchable, and Lewis Grassic Gibbon’s A Scots Quair. These novels have complicated relationships to socialist realism. They want to cut through ideological fog and to see ‘reality as it is’ and ‘whither it is moving’ (in Radek’s phrase), but they use modernist literary techniques to this end, and grapple with epistemological doubt. They also complicate the traditional Marxist emphasis on class by putting it into dialogue with gender, sexuality, race, national identity, and rural identity.

A History of 1930s British Literature
  • Edited by Benjamin Kohlmann, Matthew Taunton
  • Published online: 16 May 2019
  • Print publication: 16 May 2019
  • This History offers a new and comprehensive picture of 1930s British literature. The '30s have often been cast as a literary-historical anomaly, either as a 'low, dishonest decade', a doomed experiment in combining art and politics, or as a 'late modernist' afterthought to the intense period of artistic experimentation in the 1920s. By contrast, the contributors to this volume explore the contours of a 'long 1930s' by repositioning the decade and its characteristic concerns at the heart of twentieth-century literary history. This book expands the range of writers covered, moving beyond a narrow focus on towering canonical figures to draw in a more diverse cast of characters, in terms of race, gender, class, and forms of artistic expression. The book's four sections emphasize the decade's characteristic geographical and sexual identities; the new media landscapes and institutional settings its writers operated in; questions of commitment and autonomy; and British writing's international entanglements.