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After the Victorians / A.N. Wilson.

By: Wilson, A. N, 1950-.
Material type: materialTypeLabelBookPublisher: London : Hutchinson, 2005Description: xii, 609 pages, [32] pages of plates : illustrations (some color) ; 25 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 0091794846.Subject(s): Great Britain -- History -- 20th century | Great Britain -- Intellectual life -- 20th century | Great Britain -- Social conditions -- 20th century | Great Britain -- History -- Edward VII, 1901-1910 | Great Britain -- History | Great Britain -- History -- George VI, 1936-1952 | Great Britain -- History -- George V, 1910-1936DDC classification: 941.082/3
Contents:
Includes index and bibliographical references.
Review: In After the Victorians, A. N Wilson presents a panoramic view of an era stretching from the death of Queen Victoria in 1901 to the dawn of the Cold War in the early 1950s. He offers accounts of the savagery of World War I and the world-altering upheaval of the Russian Revolution. He explains Britain's role in shaping the destiny of the Middle East. And he casts a bright new light on the World War II years. Britain played a central role in defeating Germany, but at a severe cost: the nation would emerge from the war bankrupt and fatally weakened, cut off from world politics, while America would assume the mantle of dominant global power, facing off against the Soviet Union in the Cold War. Wilson's perspective is not confined to the trenches of the battlefield and the halls of Parliament: he also examines the parallel story of the beginnings of Modernism, considering the novelists, philosophers, poets, and painters of the time to see what they reveal about the activities of politicians, scientists, and generals." "Blending military, political, social, and cultural history of the most dramatic kind, A. N. Wilson offers a portrait of the decline of one of history's great powers. The result is an account of the birth pangs of the modern world, as well as a timely analysis of imperialism and its discontents.
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Enhanced descriptions from Syndetics:

Follow-up to the bestselling The Victorians in which A.N. Wilson tells the story of the 'Decline and Fall' of Britain. How did Britain decline? This is the question which A.N. Wilson seeks to answer in his masterly follow-up to The Victorians. In The Victorians the author told the story of Great Britain in her preeminence. It ended with Britain as the mightiest, richest nation on earth, possessed of a huge empire. That book, however, is full of forebodings and harbingers of disaster. This book tells the story of the decline of Britain - and with it, the decline of very many of the things which Victorian Britain stood for. Though it appeared that these things had merely taken a battering by the war against Hitler, in fact the seeds for their undoing had been there from the beginning. As in The Victorians, this book is a panoramic sweep taking in the well-known and the lesser-known, building up a portrait of the age as seen through the eyes of innumerable individuals. We see the First World War and the coming of Communist Revolution; the Spanish Civil War; the Second World War; the unstoppable growth of America as a dominant world power and the beginnings of the Cold War. in world politics. Alongside this is the story of the beginnings of Modernism - in Paris painting, in Vienna music and radical new philosophical systems of thought. A.N. Wilson visits the novelists, the philosophers, the poets and the painters to see what light they threw on the activities of the politicians, the scientists and the generals. Holding together military, political, social and cultural history, A.N. Wilson creates a panoramic view of the era which skilfully traces the sources and causes of the 'Decline and Fall' of Great Britain.

"First published by Hutchinson in 2005 in Great Britain"--T.p. verso.

Smith Bequest.

Includes bibliographical references and index.

Includes index and bibliographical references.

In After the Victorians, A. N Wilson presents a panoramic view of an era stretching from the death of Queen Victoria in 1901 to the dawn of the Cold War in the early 1950s. He offers accounts of the savagery of World War I and the world-altering upheaval of the Russian Revolution. He explains Britain's role in shaping the destiny of the Middle East. And he casts a bright new light on the World War II years. Britain played a central role in defeating Germany, but at a severe cost: the nation would emerge from the war bankrupt and fatally weakened, cut off from world politics, while America would assume the mantle of dominant global power, facing off against the Soviet Union in the Cold War. Wilson's perspective is not confined to the trenches of the battlefield and the halls of Parliament: he also examines the parallel story of the beginnings of Modernism, considering the novelists, philosophers, poets, and painters of the time to see what they reveal about the activities of politicians, scientists, and generals." "Blending military, political, social, and cultural history of the most dramatic kind, A. N. Wilson offers a portrait of the decline of one of history's great powers. The result is an account of the birth pangs of the modern world, as well as a timely analysis of imperialism and its discontents.

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Excerpt provided by Syndetics

Excerpted from After the Victorians by A.N. Wilson. Copyright (c) 2005 by A.N. Wilson. Published in November, 2005 by Farrar, Straus and Giroux, LLC. All rights reserved. 1 Oedipus Rex, Oedipus Kaiser In 1900 there was published in Vienna one of the most extraordinary and revolutionary texts ever to come from a human brain. Die Traumdeutung (The Interpretation of Dreams) expounded the theory on which all subsequent psychoanalysis was based, even or especially those psychoanalytical theories which reacted most violently against it: namely, that the human mind consists of what might be described as two layers. With the outer layer, of our conscious mind, we reason and form judgements. In reasonable, well-balanced individuals, the pains and sorrows of childhood have been worked through, put behind them. With the unhealthy, however, neurotic or hysterical individuals, there is beneath the surface of life a swirling cauldron of suppressed memories in which lurk the traumas (the Greek word for wounds) of early experiences. Under hypnosis, or in dreams, we re-enter the world of the subconscious and with the care of a helpful analyst we can sometimes revisit the scenes of our early miseries and locate the origins of our psychological difficulties. The author of this world-changing book, Dr Sigmund Freud (1856--1939), was a happily married neurologist, born in the Moravian town of Freiberg, but for most of his life resident in Vienna, hub of the Austro-Hungarian Empire, where his consulting room in Berggasse 19, Vienna IX (from 1931), and his celebrated couch, on which patients lay to recite their sorrows, became a totemic emblem of the century which was to unfold. The need to return to some forgotten, irrational, dark place of our lost past became compelling, personal and collective, as the hysteria of the twentieth century reached its crescendo-point and as Dr Freud, a Jew, though a non-believing one, packed his belongings and took his family to live in London for the last year of his life, following the Anschluss , the joining together of Germany and Austria into a Great Germany, Grossdeutschland . He had already had the honour of having his books burned in Berlin in 1933, and in 1938 they were burned in Vienna. On the publication of Die Traumdeutung , there were many people who, if not actually tempted to burn the book, must have found its contents shocking. If Oedipus the King is able to move modern man no less deeply than the Greeks who were Sophocles' contemporaries, the solution can only be that the effect of Greek tragedy does not depend on the contrast between fate and human will, but is to be sought in the distinctive nature of the subject-matter exemplifying this contrast. There must be a voice within us that is ready to acknowledge the compelling force of fate in Oedipus ...His fate moves us only because it could have been our own as well, because at our birth the oracle pronounced the same curse upon us as it did on him. It was perhaps ordained that we should all of us turn our first sexual impulses towards our mother, our first hatred and violent wishes against our father. Our dreams convince us of it. King Oedipus, who killed his father Laius and married his mother Jocasta, is only the fulfilment of our childhood wish. But, more fortunate than he, we have since succeeded, at least insofar as we have not become psychoneurotics, in detaching our sexual impulses from our mothers, and forgetting our jealousy of our fathers.1 Dr Freud, further, told his Vienna lecture audiences: 'The dream of having sexual intercourse with the mother is dreamed by many today as it was then, and they recount it with the same indignation and amazement [as Oedipus].'2 Albert Edward, Prince of Wales, succeeded his mother Queen Victoria upon her death at half-past six in the evening on 22 January 1901, and became King Edward VII. He had waited a long time. 'Most people pray to the Eternal Father,' he had quipped, 'but I am the only one afflicted with an Eternal Mother.' If he ever had dreams about his mother of the kind believed by Dr Freud to be so usual, he did not record them for posterity. Queen Victoria did, however, believe that Bertie, as he was always known in his own family, in effect achieved half of the Oedipal destiny by killing his father, Prince Albert. An indiscretion with an actress, Nellie Clifden, at the Curragh Camp near Dublin had brought Bertie's name into the newspapers, and his serious German father, embarrassed, angry and distressed, had gone to Cambridge, where Bertie was an undergraduate, to remonstrate with him during a wet evening in November 1861. A bad cold had turned to fever, and within a few weeks the doctors had diagnosed typhoid, almost certainly caused by the drains at Windsor Castle, one of the Prince Consort's obsessions, and hardly to be blamed on poor Bertie. Nevertheless, it was, from the very first moment of her widow's grief, one of the Queen's obsessions that Bertie's 'fall' had caused 'beloved Papa's demise', aged forty-two. 'Poor unhappy Bertie,' wrote the distraught mother a few weeks after Albert died, to Bertie's elder sister, the Crown Princess of Prussia, 'much as I pity I never can or shall look at him without a shudder as you may imagine'.3 And again: 'If you had seen [your husband] struck down, day by day get worse and finally die, I doubt whether you could bear the sight of the one who was the cause.'4 By the time he inherited his kingdom, Edward VII was fifty-nine years old; at 67 inches high, he weighed 225 pounds. In some outward terms, he was not an obvious case of a man who bore any resentment of his upbringing by parents who had clearly deplored in equal measure his limitations of intellect and his lack of morals. For example, at a public dinner, when mentioning his father, he had burst into tears. The speed with which he dismantled any physical reminders of his parents, however, tells its own story. In Windsor Castle, and in Buckingham Palace, the new monarch walked about cheerfully with a cigar stuck between his lips, Caesar, his long-haired white fox terrier,5 trotting at his heels, his hat still on his head as he cleared out and destroyed his father's and mother's memory. In these rooms, where smoking had always been forbidden, the obese, bronchitic king coughed, puffed smoke and gave orders that hundreds of 'rubbishy old coloured photographs' be destroyed. Busts and statues of John Brown, his mother's faithful Highlander, were smashed; the papers of the Munshi, Queen Victoria's beloved Indian servant, were burned. The huge collection of relics of the Prince Consort, undisturbed since his untimely death forty years earlier, was sent to the muniment room in Windsor's Round Tower. While getting rid of his parents' old rubbish, he also took the opportunity to extend the telephone networks, install new bathrooms and lavatories, and to convert coach houses into garages for the cars of his nouveaux riches friends. 'Alas!' Queen Alexandra wrote to Edward VII's sister, now the Empress Frederick, in Berlin. 'During my absence, Bertie has had all your beloved Mother's rooms dismantled and all her precious things removed.' The most significant of the new king's anti-parental gestures was his decision to close Osborne House on the Isle of Wight, and make it, jointly, a Royal Naval College for young cadets and a convalescent home for retired officers. There is an apocryphal story told at Osborne of a visitor coming down the drive in the 1920s and seeing twenty or thirty elderly gentlemen of military or naval deportment, some in bath chairs and covered with plaid rugs, some strolling on the lawn. The visitor was waggishly told: 'Those are the Prince Consort's illegitimate children!' It would not be funny if, instead of referring to the priggishly monogamous Albert, the joker had claimed the old gentlemen to be children of the notoriously lecherous Edward VII. What the joke points up is the fact that the Prince Consort's real children were no longer there in the Italian palazzo which he had so lovingly built in the 1840s. It was where the distraught queen had spent the greater part of her long widowhood, and it was where she had died. As the old queen lay dying in January 1901, Henry James, wisest of commentators, had written from his London club, the Reform, to American friends: I feel as if her death will have consequences in and for this country that no man can foresee. The Prince of Wales is an arch-vulgarian (don't repeat this from me); the wretched little 'Yorks' are less than nothing; the Queen's magnificent duration had held things magnificently--beneficently--together and prevented all sorts of accidents. Her death, in short, will let loose incalculable forces for possible ill. I am very pessimistic.6 To another American, when the queen had actually died, he wrote: We grovel before fat Edward--E. The Caresser, as he is privately named...But I mourn the safe and motherly old middle-class queen, who held the nation warm under the fold of her big, hideous, Scotch-plaid shawl and whose duration had been so extraordinarily convenient and beneficent. I fear her death much more than I should have expected; she was a sustaining symbol--and the wild waters are upon us now.7 James bids his compatriots to mourn Victoria, 'for she was always nice to us'.8 His novelistic antennae caught, as political commentary might have failed to do, the vulnerability of the most powerful nation upon Earth, at the apogee of its pre-eminence. Excerpted from After the Victorians: The Decline of Britain in the World by A. N. Wilson All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Library Journal Review

A noted historian tracks Britain's crash-and-burn in the 20th century, as World War II bankrupts the imperial nation both spiritually and financially and America takes over. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

Wilson-an estimable novelist and historian-has written a splendid sequel to The Victorians, describing the vanished world of his "parents' generation" between 1901 and 1953. Wilson eschews a rigidly chronological narrative in favor of unveiling a colorful, quirky "portrait of an age." Encompassing everything from high politics through middlebrow pursuits to low culture, this book displays Wilson's magpie-ish talent for the telling detail, the amusing anecdote and the wry observation to delightful effect. Reading it, one feels-with Wilson-a wistful, admiring pang for these post-Victorians, who were born at the zenith of British power and died just as their great empire slipped away. What they left, argues Wilson, was a heritage of defending a peculiarly British form of liberty; what succeeded them was government by a bureaucratic class of "colourless, pushing people controlling others for the sake of control." The coronation of Queen Elizabeth II in 1953 provides Wilson with a fittingly elegiac conclusion: This "splendid piece of religio-patriotic pageantry" may have justly celebrated "peace, freedom, prosperity," but it was also a "consoling piece of theatre" that temporarily obscured the reality of America's new dominance. 32 pages of illus. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved

CHOICE Review

Colorful, insightful, and barbed, Wilson's kaleidoscopic history is in the vein of his previous work, The Victorians (CH, Sep'03, 41-0534). Beginning with the ascendancy of Edward VII in 1901 and ending with the 1953 coronation of that king's great-granddaughter, Elizabeth II, Wilson addresses the gradual decline of Great Britain as a world power, which happened while the Britons held fast to the eccentric pageantry of tradition and delighted in theatrical reminders that they had once ruled the world. Wilson, a fellow of the Royal Society of Literature and also a journalist and novelist, structures his riveting social history upon the gossipy illumination of personalities, including those of H. G. Wells, the infamous Dr. Hawley Harvey Crippen, Lord Curzon, Marie Stopes, the three Sitwells, Noel Coward, Winston Churchill, and various other politicians, writers, scientists, and soldiers. Wilson's descriptions are often entertainingly irascible. He writes, for example, that the "bony" Virginia Woolf practiced a sort of superficial radicalism like that of many of her contemporaries, and like them, she had "nothing to write about." The result of such cantankerous writing keeps readers fascinated and looking forward to the next page. ^BSumming Up: Highly recommended. All levels/libraries. E. J. Jenkins Arkansas Tech University

Booklist Review

A century ago, Britain ruled the greatest maritime-based empire in history; today, it is a moderately prosperous island nation whose dramatically reduced power and influence is essentially confined to the European theater. In his sequel to his widely acclaimed The Victorians (2003), Wilson describes this slow decline in a wide-ranging survey that incorporates political, cultural, and military factors. This is not an easy read, particularly for those who lack a basic familiarity with the period. Wilson's narrative style is quirky, with lengthy digressions that examine the idiosyncrasies of some of the major personalities and movements of the era. But his elegant prose and wonderful insights into the men, women, and events that shaped the first half of the twentieth century make this a journey well worth taking. His descriptions of the horrors of the two world wars and their devastating effects on the British body politic ring with truth and compassion. Those who have the interest and patience to delve into this work will be rewarded with a stirring but sad saga of imperial decline. --Jay Freeman Copyright 2005 Booklist