Abstract
The title of this chapter is the title of a 1942 essay in Time and Tide by Rebecca West.2 Like so many British women writers, her inspiration to find meaning in a second world war began with the losses of World War I. Their painful memories were often similar, and not just because so many lost loved ones. It was also because they remembered how their struggles for equality lost ground to the lure of supporting the nation last time it was threatened by world war. Many had rallied to that earlier war effort on behalf of brothers and lovers who risked their lives for it. When the war invaded the home front with a dreaded telegram, many women, including Vera Brittain, Storm Jameson, and Virginia Woolf, turned their anguish into rage against all wars and became pacifists. But just as World War I garnered impassioned differences among women, the awful possibility of an even more engulfing war moved them to weave memory into different patterns for world peace. So Vera Brittain crafted her 1933 odyssey of feminism and pacifism, Testament of Youth, out of her diaries of World War I’s inexplicable waste. Storm Jameson wove her despair at her young brother’s senseless death into many later narratives, each of them arguing the justice of a new and different world war.
In these days when there is a bad name for detachment, it is hard to assess the detached man.1
Elizabeth Bowen, 1941
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Notes
Jacqueline Rose, Why War? (Oxford: Blackwell, 1993), p. 32.
Virginia Woolf, A Writer’s Diary (1954), p. 313. Cited in text as WD.
Vera Brittain, Testament of Experience (1957), p. 170. Cited in text as TE.
Vera Brittain, Wartime Chronicle (1989), p. 49. Cited in text as Wartime.
Vera Brittain, Born 1925 (1948, 1982). Cited in text as Born.
Lorna Lewis, Time and Tide (1 March 1941) 170.
Vera Brittain, Humiliation with Honour (1943), p. 9. Yvonne A. Bennett sees Brittain mediating her own class biases through her belief that the transcendent power of love could overcome class, sexual, and political distinctions.
Vera Brittain, Testament of a Peace Lover (1988), p. 21. Cited in text as Peace Lover.
Stevie Smith, Novel on Yellow Paper (1936), p. 118. Cited in text as NYP.
Stevie Smith, Over the Frontier (1938), p. 89. Cited in text as OF.
Dorothy L. Sayers, Begin Here (1940), p. 141. Cited in text as Begin.
Dorothy L. Sayers, The Mysterious English (1941), pp. 8, 16.
Ethel Mannin, Privileged Spectator (1939), p. 297. Cited in text as Spectator.
Ethel Mannin, Brief Voices (1959), p. 50. Cited in text as Voices.
Storm Jameson, No Time Like the Present (1933), pp. 237–8. Cited in text as No Time.
Martin Ceadel, Pacifism in Britain 1914–1945: The Defining of a Faith (Oxford: Clarendon Press, 1980) defines activists and sympathizers as the relationship between public support and ‘the psychological and social pressures implied by activism’, p. 225. Overall, British women activists received little or no support for their internationalist views.
Storm Jameson, Journey From the North Vol. 1 (1969), p. 326. Cited in text as JI.
Vera Brittain, England’s Hour (1941), p. 197. Cited in text as E Hour.
Simon Featherstone, ‘The Nation as Pastoral in British Literature of the Second World War’, Journal of European Studies xvi (1986), p. 156.
David Gervais, Literary Englands: Versions of ‘Englishness’ in Modern Writing (Cambridge: Cambridge University Press, 1993), p. 81.
Frances Partridge, A Pacifist’s War (1983), p. 55. Cited in text as PW.
Nancy Huston, ‘The Matrix of War: Mothers and Heroes’, The Female Body in Western Culture, Susan R. Suleiman (ed.) (Cambridge: Harvard University Press, 1986), p. 119.
Bryher, The Days of Mars (1972), p. 4. Cited in text as Mars.
Ursula Bloom, War Isn’t Wonderful (1961), p. 55.
Ursula Bloom, The Fourth Cedar (1945), p. 56.
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© 1998 Phyllis Lassner
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Lassner, P. (1998). ‘Differences that Divide and Bind’. In: British Women Writers of World War II. Palgrave Macmillan, London. https://doi.org/10.1057/9780230503786_2
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DOI: https://doi.org/10.1057/9780230503786_2
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