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• W1235777716 abstract "Abstract: During World War II, conditions of civilian life were surprisingly similar to life in provincial Cranford. Like the women in Elizabeth Gaskell's fictional village, those on the home front were compelled to economise, to do without men in their society, and to cope with fears of invasion by outsiders. English and American newspaper editorials from the 1940s suggest that Cranford took on new, and newly controversial, meanings for home-front readers who recognised these similarities. Beyond simply viewing the stories with nostalgia, some readers view them as both a philosophical and practical guide to living a stable private life in the midst of a chaotic world war. Conversely, in a striking departure from traditional readings of Cranford as comforting, other readers looking to the text for its literal applications find the stories to be impractical, and even unethical, as a model of civilian life. These diverse interpretations of Cranford result in part from the extent to which readers of varying geographical locations identify with the perspective of the novel's narrator, Mary Smith, who is both an insider and an outsider in the town. For 1940s home-front readers, who were highly sensitive to the meaning of place during the international war, Cranford's specifically located nature could be its charm or its shortcoming, depending on readers' own insider or outsider status.'How naturally one falls back into the phraseology of Cranford!' exclaims Mary Smith, the narrator of Elizabeth Gaskell's novel, at one point during her reminiscence about her time in the town.1 The tendency to 'fall back' to Cranford in various ways would be natural to many others about ninety years after Gaskell's novel was first published, during the Second World War. Although stories about elderly women in the nineteenth century may seem an unlikely source to turn to during a time of international political upheaval and mass violence, for some on the home front in England and in America, Cranford was an obvious choice. Life on the home front in the 1940s strangely mirrored life in Cranford. Heavy rationings of paper, food, and other materials led many to look back to Cranford's elegant economy' for lessons in frugality, often in very specific and practical terms. In other aspects, too, 1940s life resembled Cranford life. As men left to fight the battles, women were left at home by themselves to try to define, like the Cranford women, what a man-less society should look like. In addition, those on the home front shared the Cranfordians' incessant fear of invasion by outsiders. As they struggled to cope with these challenges, Gaskell's Cranford was a touchstone.Readers in the 1940s did not, however, uniformly view Cranford with nostalgia. Their complex relationship to the stories reflects the complex attitude of Gaskell's narrator. When Mary Smith 'falls back' into the language of Cranford, she does so with some ambivalence. She observes that it is easy to slip into Cranford's 'phraseology' after a moment in the text when, remembering the women of Cranford, she has instinctively adopted their term of 'elegant economy' to characterise their earnest efforts to appear genteel while living frugally. Mary's 'natural' use of this terminology, combined with her astonished realisation that she has naturally used it, captures the simultaneous closeness to and distance from Cranford that her tone registers throughout the novel. On the one hand, for Mary, Cranford's phraseology is clearly that of Cranford, and not her own. With consistent gentle mockery she draws attention to Cranford's fussiness and insularity, and she positions herself as a more worldly-wise observer, as she does at this point in the novel by emphasising the Cranford ladies' unconvincing genteel facade. On the other hand, it is telling that she almost unconsciously refers to this facade in the Cranfordians' finer vocabulary of 'elegant economy'. It seems that Mary falls back into the phraseology of Cranford because even after many years and despite the Cranford ladies' ridiculousness, she finds something enduringly right about their sense of dignity in the tiny sphere in which they live. …" @default.
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• W1235777716 date "2014-01-01" @default.
• W1235777716 modified "2023-09-26" @default.
• W1235777716 title "Trauma in the 'Tea-Cup Drama': Cranford on the World War II Home Front" @default.
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