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- W2419460612 abstract "Born into the Anglo-Irish Protestant ascendancy, Elizabeth Bowen (1899–1973) was the product of a close-knit society described by Spencer Curtis Brown in his foreword to Pictures and Conversations as ‘English but in no way English, Irish but in no way Irish’. She spent so much of her life manoeuvring between London, Dublin and Bowen’s Court, her family estate in County Cork, that her fiction has become synonymous with themes of dislocation and in tersti tiality. Indeed, the shaping influence of ambivalence on Bowen’s work and thought has been so frequently asserted as to have become by now a critical commonplace. Roy Foster’s claim that Bowen’s ‘real themes are dispossession, double-crossing, cruelty, betrayal’1 is amplified and extended in excellent recent studies by Maud Ellmann and Neil Corcoran, both of whom regard ‘the gift or pain or dislocation of living between Ireland and England, of being bilocated’ as ‘deeply intrinsic’ to her entire oeuvre.2 Like her contemporary Louis MacNeice, another Protestant Irish outsider-insider in England whom we shall encounter later in this volume, Bowen’s sensibility was finely attuned to the ironies and ambiguities of doubleness and split-mindedness, qualities that also inflect her conception of ‘the self-told story’: ‘One might say that whereas autobiography used to be based on statement, now it derives from query, being tentative rather than positive, no longer didactic but open-minded. It is mobile, exploratory’3 However, Bowen’s Court (1942), which chronicles ten generations of her family history, hardly conforms to this template and is in many respects her least personal autobiographical work." @default.
- W2419460612 created "2016-06-24" @default.
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- W2419460612 date "2009-01-01" @default.
- W2419460612 modified "2023-10-18" @default.
- W2419460612 title "Elizabeth Bowen, Pictures and Conversations" @default.
- W2419460612 cites W4254579768 @default.
- W2419460612 doi "https://doi.org/10.1057/9780230234017_28" @default.
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