Richard Aldington’s Images, the Metropolis and the Masses.

Richard Aldington’s city poems in the latter part of his 1915 collection Images are concerned with the masses who inhabit the modern city. Aldington is at pains to stress his distinction from those he perceives as an increasingly homogenized crowd. This paper examines the literary, linguistic and rhetorical strategies by which Aldington ‘others’ the masses, and sets them in the context of contemporary studies of the crowd, focusing on the work of Gustave Le Bon and C. F. G. Masterman. Aldington’s poetry is a product of the environment he sees as unsatisfactory, but he searches for solutions in a range of literary traditions which write the city.

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.

The Museum of Atheism.

It is Christmas Eve in a mountainous, isolated prison community, the day of the baby beauty pageant. Ava is the star attraction. She's six years old. Ava's older brother Jonny hears strange noises in the attic and sees his father go out late at night with a gun with their lodger, prison warden Leo. Daniel, a man who repairs sex dolls for a living, has just moved into the area and he is Ava's biggest fan. There are rabid, wild foxes roaming the area, terrorising the community. The action culminates in a bizarre fetish party at the local strip club, a fox cull and the death of Ava. Finally, the secrets of her life are revealed.

Writing Violence: the legal, moral and aesthetic Implications of creative non-fiction.

This essay began as a hybrid critical/creative paper that was presented as part of an all-female panel discussing the intersections between writing and extreme violence. My own paper was on the relationship between my creative nonfiction novel The Museum of Atheism and the real life murder of six-year-old beauty queen, JonBenet Ramsey. This essay is an attempt to represent the writing process of the creative nonfiction author, and to consider the ways in which critical theory can be used to highlight, or conversely obscure, fictional writing. In addition to considering the effect of using a real story, a true crime, as the basis for a semi-fictional work, this essay will also consider the relationship I had as a writer to my publisher, editor and agent, and their interventions in the writing process to ensure that facts were deliberately skewed or warped in order to avoid litigation. Finally, I will consider my own relationship to the material, and the impact that this had on the writing process.