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The phenomenon Adams is talking about here is largely a post-WW1 phenomenon in UK culture, related to the post-WW1 malaise. His best examples are post-WW1 (Paul
by AlanYx 9mo ago
The phenomenon Adams is talking about here is largely a post-WW1 phenomenon in UK culture, related to the post-WW1 malaise. His best examples are post-WW1 (Paul Pennyfeather, Tony Last, and the book by Stephen Pile). The others arguably don't really fit (e.g., the core delight in Gulliver is the reader thinking they are smarter than Gulliver; the reader doesn't identify with him). It's not exactly a new observation... one of the motivations both Tolkien and CS Lewis had for strong characters like Aragorn was to present examples falling outside this cultural drift.
- RcouF1uZ4gsC 9mo agoYes. See also Fleming’s James Bond. Dickens’ Nicholas Nickleby. * This phenomenon is post-WWI and post-WWII and losing the greatest empire in history in a single generation trauma being retconned as if were the historical English perspective. * Removed previously incorrect statement including Edgar Rice Burroughs who is an American although Tarzan is English
- bloak 9mo agoEdgar Rice Burroughs lived his entire life in the USA, right?
- deleted 9mo ago[deleted]
- RcouF1uZ4gsC 9mo agoYou are right. Updated the post
- AlanYx 9mo agoI'm not sure I understand the Burroughs example as relevant to the UK, but another good illustration is Thomas Hardy. His books sold well but were never seen as consistent with the UK cultural mainstream, and the reaction to Jude the Obscure in 1895 stopped him from writing novels entirely. Yet post-WWI he came to be seen/adopted as a mainstream cultural icon.
- RcouF1uZ4gsC 9mo agoGood example of Hardy and the reception reflects the cultural change