Writing disenchantment: British First World War Prose, 1914-30.

This book argues that disenchantment is not only a response to wartime experience, but a condition of modernity with a language that finds extreme expression in First World War literature. The objects of disenchantment are often the very same as the enchantments of scientific progress: bureaucracy, homogenisation and capitalism. Older beliefs such as religion, courage and honour are kept in view, and endure longer than often is realised. Social critics, theorists and commentators of the late nineteenth and early twentieth centuries provide a rich and previously unexplored context for wartime and post-war literature. The rise of the disenchanted narrative to its predominance in the War Books Boom of 1928 – 1930 is charted from the turn of the century in texts, archival material, sales and review data. Rarely-studied popular and middlebrow novels are analysed alongside well-known highbrow texts: D. H. Lawrence, Virginia Woolf, H. G. Wells and Rebecca West rub shoulders with forgotten figures such as Gilbert Frankau and Ernest Raymond. These sometimes jarring juxtapositions show the strained relationship between enchantment and disenchantment in the war and the post-war decade.

What a victory it might have been”: C. E. Montague and the First World War.

Discusses Montague's post-war prose work in terms of peace and silence.

This battle was not over: Parade’s End as a transitional text in the development of ‘disenchanted’ First World War literature.

This chapter argues that the novels of Ford's Parade's End tetralogy occupy a significant place in the development of "disenchanted" fiction about the First World War. The values of Ernest Raymond's patriotic Tell England are contrasted with those of C. E Montague's Disenchantment, providing a brief synopsis of the early 1920s response to the conflict. Parade's End is seen as introducing several key themes in to the post-First World War discursive field, including national identity, psychology, memory, and time. The presentation of these aligned with the formal aspects of the novel, allows it to push the boundaries of the readerly horizon of expectations. Frayn argues that Ford's readership, though moderately-sized, was influential from a literary point of view, and thus facilitated the reception of later, more vitriolic, criticisms of war.