Skip to main content

Part of the book series: History of British Women’s Writing ((HBWW))

Abstract

In 1961 the historian Helen Cam noted the contemporaneous vogue for historical fiction, quoting approvingly John Raymond’s comment that, ‘We must all agree … that there is no time like the present for the historical novel in all its variety and richness.’1 Yet by 1969 Ursula Brumm was stating that, ‘In our time, which is postrealistic in that realism has been superseded by other literary conventions, the historical novel has almost disappeared.’2 And in The English Historical Novel: Walter Scott to Virginia Woolf in 1971, Avrom Fleishman argued that Woolf’s Orlando (1928) and Between the Acts (1941) ‘bring the tradition of the English historical novel to a self-conscious close.’3 Why is it that, while Cam sees a thriving literary field, Brumm and Fleishman see a dead tradition?

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 139.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Hardcover Book
USD 179.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. Helen Cam, Historical Novels (London: Routledge & Kegan Paul, 1961), p. 3.

    Google Scholar 

  2. Ursula Brumm, ‘Thoughts on History and the Novel’, Comparative Literature Studies, 6 (1969), 327.

    Google Scholar 

  3. Avrom Fleishman, The English Historical Novel: Walter Scott to Virginia Woolf (Baltimore and London: Johns Hopkins Press, 1971), p. 233.

    Google Scholar 

  4. Gyorgy Lukács, The Historical Novel, trans. Hannah and Stanley Mitchell [1936/7] (Lincoln and London: University of Nebraska Press, 1983), p. 338.

    Google Scholar 

  5. Bryher, This January Tale (New York: Harcourt, Brace and World, 1966), p. viii.

    Google Scholar 

  6. See Jan Montefiore, Men and Women Writers of the 1930s: The Dangerous Flood of History (London and New York: Routledge, 1996), Chapter 5;

    Book  Google Scholar 

  7. Chris Hopkins, English Fiction in the 1930s: Language, Genre, History (London: Continuum, 2006); The Gender of Modernism: A Critical Anthology ed. by Bonnie K. Scott (Bloomington and Indianapolis: Indiana University Press, 1990), pp. 372–92.

    Google Scholar 

  8. Linda Hutcheon, A Poetics of Postmodernism: History, Theory, Fiction (New York and London: Routledge, 1988), p. 5.

    Book  Google Scholar 

  9. Alison Light, ‘“Young Bess”: Historical Novels and Growing Up’, Feminist Review, 33 (1989), 61;

    Article  Google Scholar 

  10. Betty Friedan, The Feminine Mystique [1963] (Harmondsworth: Penguin, 1982).

    Google Scholar 

  11. Elizabeth Maslen, ‘Naomi Mitchison’s Historical Fiction’ in Women Writers of the 1930s: Gender, Politics and History ed. by Maroula Joannou (Edinburgh: Edinburgh University Press, 1999), pp. 138–50.

    Google Scholar 

  12. Anya Seton, Katherine [1954] (London: Hodder, 1961), p. 9.

    Google Scholar 

  13. Margaret Irwin, Young Bess [1944] (London: Allison and Busby, 1988), p. 4.

    Google Scholar 

  14. Margaret Irwin, Elizabeth and the Prince of Spain [1953] (London: Allison and Busby, 1999), p. 191.

    Google Scholar 

  15. Jerome de Groot, The Historical Novel (London: Routledge, 2010), p. 75.

    Google Scholar 

  16. Jean Plaidy, Murder Most Royal [1949] (London: Pan, 1966)

    Google Scholar 

  17. Norah Lofts, The Concubine (New York: Doubleday, 1963), p. 224.

    Google Scholar 

  18. Georgette Heyer, Regency Buck [1935] (London: Pan, 1959), p. 113.

    Google Scholar 

  19. Heyer, Arabella [1949] (London: Arrow, 1999), p. 28.

    Google Scholar 

  20. Jane A. Hodge, The Private World of Georgette Heyer (London: Pan, 1985), p. 158.

    Google Scholar 

  21. Heyer, The Grand Sophy [1950] (London: Arrow, 1991), p. 245.

    Google Scholar 

  22. Heyer, Sylvester [1957] (London: Mandarin, 1992), p. 47–9.

    Google Scholar 

  23. A. S. Byatt, ‘An Honourable Escape: Georgette Heyer’ in Passions of the Mind [1969] (London: Vintage, 1993), p. 261.

    Google Scholar 

  24. Heyer, A Civil Contract [1961] (London: Arrow, 2005).

    Google Scholar 

  25. See Maud Ellmann, ‘The Art of Bi-Location: Sylvia Townsend Warner’ in The History of Women’s Writing, 1920–1945 vol. 8 ed. by M. Joannou (Basingstoke: Palgrave Macmillan, 2013), pp. 78–93.

    Google Scholar 

  26. Arnold Rattenbury, ‘Plain Heart, Light Tether’, ‘Sylvia Townsend Warner 1893–1978: A Celebration’, ed. Claire Harman, PN Review 23(1981), 8:3, 47.

    Google Scholar 

  27. Sylvia Townsend Warner, The Flint Anchor [1954] (London: Virago, 1997), p. 1.

    Google Scholar 

  28. See Terry Castle’s influential reading of Warner’s Summer Will Show in The Apparitional Lesbian: Female Homosexuality and Modern Culture (New York: Columbia University Press, 1993), pp. 66–91.

    Google Scholar 

  29. Warner, The Diaries of Sylvia Townsend Warner, ed. Claire Harman (London: Virago, 1994), pp. 205–6.

    Google Scholar 

  30. For a rare comparison see J. P. Nesbitt, ‘Rum Histories: Decolonising the Narratives of Jean Rhys’s Wide Sargasso Sea and Sylvia Townsend Warner’s The Flint Anchor’, Tulsa Studies in Women’s Literature, 26: 2 (2007), 309–30.

    Google Scholar 

  31. Peter Widdowson describes Wide Sargasso Sea as ‘perhaps the best-known and prototypical re-visionary novel’ in ‘Writing back: contemporary re-visionary fiction’, Textual Practice 20: 3 (2006), 497.

    Article  Google Scholar 

  32. K. Bluemel, ‘Introduction’, in Intermodernism: Literary Culture in Mid-Twentieth-Century Britain ed. by Kristin Bluemel (Edinburgh: Edinburgh University Press, 2011), pp. 1–18.

    Google Scholar 

  33. Maureen Duffy, ‘On the Road to Manderley’, Time, 97(1971), 12 April, 65.

    Google Scholar 

  34. See for instance Joanna Russ, ‘Somebody’s Trying to Kill Me and I Think It’s My Husband: The Modern Gothic’, Journal of Popular Culture, 6 (1973), 666–91;

    Article  Google Scholar 

  35. T. Modleski, Loving with a Vengeance (London: Routledge, 1982).

    Google Scholar 

  36. Victoria Holt, Mistress of Mellyn [1960] (London: Fontana, 1963).

    Google Scholar 

  37. See Patsy Stoneman, Brontë Transformations: The Cultural Dissemination of Jane Eyre and Wuthering Heights (London: Prentice Hall, 1996), on Jane Eyre as an archetypal text which is repeatedly transmitted and transformed.

    Google Scholar 

  38. Jean Rhys, Letters 1931–1966, ed. Francis Wyndham and Diana Melly (London: Andre Deutsch, 1984), p. 262, p. 157, emphasis added.

    Google Scholar 

  39. Jean Rhys, Wide Sargasso Sea [1966] (London: Penguin, 2000), p. 5, p. 11. The setting of Jane Eyre is vague–a reference to Scott’s Marmion (1808) as a new publication suggests the early nineteenth century but later references to riots suggest the Chartist unrest in 1839 and 1840.

    Google Scholar 

  40. Gayatri C. Spivak, ‘Three Women’s Texts and a Critique of Imperialism’ in Feminisms ed. by R. R. Warhol and D. P. Herndl (Basingstoke: Macmillan, 1997), p. 901.

    Google Scholar 

  41. Caroline Zilboorg, The Masks of Mary Renault: A Literary Biography (Columbia and London: University of Missouri Press, 2001), p. 86.

    Google Scholar 

  42. David Sweetman, Mary Renault: A Biography (London: Chatto and Windus, 1993), p. 145.

    Google Scholar 

  43. Carolyn Heilbrun, Reinventing Womanhood (London: Victor Gollancz, 1979), p. 75.

    Google Scholar 

  44. Ruth Hoberman, Gendering Classicism: The Ancient World in Twentieth-Century Women’s Historical Fiction (New York: State University of New York Press, 1997), p. 74.

    Google Scholar 

  45. Mary Renault, The Alexander Trilogy (London: Penguin, 1984).

    Google Scholar 

  46. Renault, ‘Notes on The King Must Die’, in A fterwords: Novelists on Their Novels ed. by T. McCormack (New York and London: Harper and Row, 1968), p. 83.

    Google Scholar 

  47. Renault, The King Must Die [1958] (London: Four Square, 1961);

    Google Scholar 

  48. Renault, The Bull from the Sea [1962] (Harmondsworth: Penguin, 1973).

    Google Scholar 

  49. Barbara Caine, English Feminism from 1780–1980 (Oxford: Oxford University Press, 1997), p. 257.

    Google Scholar 

Download references

Authors

Editor information

Editors and Affiliations

Copyright information

© 2017 The Author(s)

About this chapter

Cite this chapter

Wallace, D. (2017). Historical Fictions. In: Hanson, C., Watkins, S. (eds) The History of British Women’s Writing, 1945–1975. History of British Women’s Writing. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-137-47736-1_15

Download citation

Publish with us

Policies and ethics