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Near the end of the Second World War, new ideas about citizenship, national identity, belonging, and rights emerged as the atrocities of the war – coupled with the dropping of atomic bombs on Hiroshima and Nagasaki – spurred writers and citizens around the world to think about their responsibilities to their fellow man. Covering British authors and contemporary fiction by migrant writers publishing at mid-century, as well as some photography from the era, Around 1945 is a collection of essays that reveals how literary texts and cultural events modeled human rights issues such as dignity, freedom, sovereignty, and responsibility. Unified by an investigation of the human and cultural aspects of universal rights, these essays show that British writers tested the parameters of citizenship and rights in novelistic form. By imagining duties and rights of citizens in hypothetical contexts, these novels expanded on the legislated entitlements and obligations that make up civic and human identity. To this day the repercussions of 1945 continue to unfold in stories about statehood, refugees, humanitarianism, displacement, and national belonging. At the same time, novels continue to imagine the human person, equal in rights and dignity before the law, yet often compromised by the political exigencies of nation-states that do not recognize legal, political, or human rights. Tracing the rippling consequences of the Second World War from 1945 through the Cold War and into the present, Around 1945 is an extraordinarily rich volume that will alter our perception of pre- and post-war British literature. Contributors include Nadine Attewell (McMaster), Mitchell C. Brown (Dalhousie), Matthew Hart (Columbia), Janice Ho (Colorado), Emily Hyde (Rowan), Peter Kalliney (Kentucky), Marina MacKay (Oxford), Melanie Micir (Washington, St. Louis), Adam Piette (Sheffield) Claire Seiler (Dickinson College), and Ian Whittington (Mississippi).

Choose ten major contemporary diasporic writers (from Abdulrazak to Zadie), ask ten leading authorities to write about their use of metaphor, and this is the result: a timely reassertion of metaphor's unrivalled capacity to encompass sameness and difference and create understanding and empathy across boundaries of nationality, race and ethnicity.

In Forms of Modern British Fiction six individualistic and strongminded critics delineate the'age of modernism'in British fiction. Dating the age and the movement from later Hardy works through the deaths of Joyce and Woolf, they present British fiction as a cohesive, self-contained unit of literary history. Hardy appears as the first of the modern British novelists, Lawrence as the central, and Joyce and Woolf as the last. The writers and the modern movement are framed by precursors, such as Galsworthy, and by successors, Durrell, Beckett, and Henry Green—the postmoderns. The pattern of the essays suggests a growing self-consciousness on the part of twentieth-century writers as they seek not only to refine their predecessors but also to deny (and sometimes obliterate) them. The moderns thus deny the novel itself, a genre once firmly rooted in history and forms of social life. Their works do not assume that comfortable mimetic relationship between the fictive realities of art and life. Consequently, there has now evolved a poetics of the novel that is virtually identifiable with modern fiction, a poetics still highly problematical in its attempt to denote a medium in whose name eclectic innovativeness and incessant revitalizing are proclaimed. Forms of Modern British Fiction refines and advances the discussion of the modern novel and the world it and we inhabit.