Rethinking G.K. Chesterton and Literary Modernism

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A01=Michael Shallcross
Author_Michael Shallcross
avant-garde criticism
Bakhtin's Account
Bakhtin’s Account
BL MS
British literary studies
British Literature
Carrollian Nonsense
Category=DSBH
Category=DSK
Chesterton
Chesterton modernism interaction
Chesterton's Accounts
Chesterton's View
Chesterton’s Accounts
Chesterton’s View
cultural performance theory
Danse Macabre
Dreadnought Hoax
Eliot's Earlier Work
Eliot's Protagonist
Eliot’s Earlier Work
Eliot’s Protagonist
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Fanatical Play
Father Brown
Father Brown Stories
Flanking Teeth
Flying Inn
Freak Dinner
G.K. Chesterton
Greek Street
Highbrow
Hollow Men
ILN
Joyce
Literature
Lord Beaumont
Modernism
Modernist Literature
modernist parody
Mulberry Bush
Pall Mall Magazine
Parody
Popular Culture
popular culture analysis
Queer Feet
Research
Romantic Grotesque
Satire
T.S. Eliot
Textual Cross-dressing
twentieth-century literature
Wyndham Lewis
Young Man

Product details

  • ISBN 9781138678736
  • Weight: 453g
  • Dimensions: 152 x 229mm
  • Publication Date: 30 Nov 2017
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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This book comprehensively rethinks the relationship between G.K. Chesterton and a range of key literary modernists. When Chesterton and modernism have previously been considered in relation to one another, the dynamic has typically been conceived as one of mutual hostility, grounded in Chesterton’s advocacy of popular culture and modernist literature’s appeal to an aesthetic elite. In setting out to challenge this binary narrative, Shallcross establishes for the first time the depth and ambivalence of Chesterton’s engagement with modernism, as well as the reciprocal fascination of leading modernist writers with Chesterton’s fiction and thought.

Shallcross argues that this dynamic was defined by various forms of parody and performance, and that these histrionic expressions of cultural play not only suffused the era, but found particular embodiment in Chesterton’s public persona. This reading not only enables a far-reaching reassessment of Chesterton’s corpus, but also produces a framework through which to re-evaluate the creative and critical projects of a host of modernist writers—most sustainedly, T.S. Eliot, Wyndham Lewis, and Ezra Pound—through the prism of Chesterton's disruptive presence. The result is an innovative study of the literary performance of popular and ‘high’ culture in early twentieth-century Britain, which adds a valuable new perspective to continuing critical debates on the parameters of modernism.

Michael Shallcross is an independent researcher, based in York, UK.

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