Abstract
Eric Knight’s name is now virtually forgotten, although during his short life he attained a considerable measure of notoriety and literary success. His last book, This Above All, hailed by The Times Literary Supplement as ‘one of the outstanding novels of the war’1 and by the Yale Review as ‘the finest novel of the war’,2 was the best-selling work of fiction in America for several months during 1941.3 Even without the Book-of-the-Month imprimatur, the American edition sold roughly 200000 copies, and the book was speedily adapted into a major commercial film. During the less than two years that remained of his life after This Above All was published in the spring of 1941, Knight abandoned fiction for propaganda work in England and the United States, especially through the medium of film, in order to win over public opinion to the British cause and persuade Americans to take the war seriously.
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Notes
Rudy Behlmer, ed., Memo from Darryl F. Zanuck: the Golden Years of Twentieth Century-Fox (New York, 1993), p. 57.
In his autobiography Capra stated that ‘it was love at first sight with Eric Knight. He had all the talents that could be compressed into a single writer: wit, compassion, sensitiveness, an intriguing style, and a great, great love for human beings.’ Frank Capra, The Name Above the Title (New York, 1971), p. 331.
‘The basic shape of the Why We Fight series was decided between April and August 1942, with a crucial contribution from the British-born writer Eric Knight.’ Joseph McBride, Frank Capra: the Catastrophe of Success (New York, 1992), p. 467.
Also see David Culbert, ‘“Why We Fight”: Social Engineering for a Democratic Society at War’, in K.R.M. Short, ed., Film and Radio Propaganda in World War II (London, 1983), pp. 173–91.
Memorandum, 25 May 1942, reprinted as Document #25 in David Culbert, ed., Film and Propaganda in America: a Documentary History, Vol. III, 2 (New York, 1990), pp. 107–17.
See Charles Wolfe, Frank Capra: a Guide to References and Resources (Boston, 1987), pp. 139–49;
Richard Griffith, Frank Capra (London, 1984), pp. 29–32. Viewing by soldiers before going overseas was compulsory. The total attendance for the seven films by the end of the war exceeded 45 000000.
See Thomas William Bohn, An Historical and Descriptive Analysis of the ‘Why We Fight’ Series (New York, 1977), p. 108.
The film critic James Agee, who found the repeated references to John Q. Public ‘embarrassing’, believed that they reflected an underestimation of the audience. Nation, 12 June 1943, reprinted in James Agee, Agee on Film (New York, 1958), p. 41.
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© 2001 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Leventhal, F.M. (2001). Eric Knight’s War: the Campaign for Anglo-American Understanding. In: Twentieth-Century Anglo-American Relations. Contemporary History in Context Series. Palgrave Macmillan, London. https://doi.org/10.1057/9780333985311_3
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DOI: https://doi.org/10.1057/9780333985311_3
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