MA in MODERNISM
and modern writers
Compulsory:
EN 5301 Modernism, Modernity and History (core)
EN 5001 Methods and Materials of Research (non-assessed, Term 1 only)
EN 5310 Dissertation
in Modernism (12-15,000 words)
Half-unit options:
EN 5303 Yeats, Pound and Eliot: Modernism and Politics (not offered 2005-6)
EN 5304 James Joyce: Modernism and Irish History
EN 5308 Joseph Conrad: Modernism, Colonialism, and
Gender (not offered 2005-6)
EN 5307 Virginia Woolf: Modernism and Subjectivity (not offered 2005-6)
EN 5305 American Modernism (Term 1, taught at IUSS)
Full-unit Options:
EN 5405 Contemporary Women’s Narratives and the Idea of the Self
EN 5409 Postcolonialism
EN 5408 Contemporary Londons (not available 2005-6)
Additional course: Representing the City (MA in European Literary & Cultural Studies).
Please inquire if you want to take this course: availability varies.
The
course descriptions below are for indicative purposes; minor changes may be
made from year to year.
Half-unit courses can appear in either term, depending on leave patterns and
other staffing considerations.
Final details of provision will be sent out over summer.
Tutors: Dr Tim Armstrong
The aim of this course is to introduce students to debates within and on Modernism. It pursues this goal through an examination of the issues which inform the historical sense of modernity (technology, industrialization, urbanization, etc.), the aesthetic assumptions of modernist texts (eg. their attitude to form and to tradition); through an examination of commentators on modernity in the period of modernism; and through a discuission of later criticism, including issues which lead to a redefinition of the modernist canon (gender, race). We will also relate texts studied to developments in the visual arts, music, cinema.
The course comprises four five-week sections: Modernism and the avante-garde; Modernity, mass culture and technology; Race, gender and primitivism; Modernism and politics.
The set text is Modernism: An Anthology of Sources and Documents, ed. Vassiliki Kolocotroni, Jane Goldman and Olga Taxidou (Edinburgh University Press, 1998). In term 1 we will use a number of novellas by Nathanael West as examples.
Modernist Movements: Dada & Futurism, Imagism &
Vorticism, Surrealism (manifestos, artworks, writings)
The attack on the past: May Sinclair, The Life and Death of Harriet Frean and other texts
The ‘Men of 1914’ and the occasion of The Waste Land
The Great War as Trauma
Science, Vitalism and the body in Bergson and others
Modernism and Mass Culture (Adorno, Orwell and others)
Krakauer/Benjamin: Modernism and City
Modernism and Film
Women and War: Rebecca West, The Return of the Soldier
Race, Gender and Primitivism: Gertrude Stein, Three Lives; paintings by Picasso etc.
Anthropology and modernism
Harlem Renaissance: Nella Larsen, Quicksand and Passing
and other writings
Political Debates in the 1930s
Modernism and Marxism
Modernism and Empire
Select Bibliography
T Armstrong Modernism, Technology & the Body
H Baker Modernism and the Harlem Renaissance
S Benstock Women of the Left Bank
M Berman All that is Solid Melts into Air: The Experience of Modernity
L Doyle Bordering on the Body: The Racial Matrix of Modern Fiction & Culture
B Fer et al Realism, Rationalism, Surrealism: Art between the Wars
P Gilroy The Black Atlantic: Modernity and Double Consciousness
A Hyssen After the Great Divide: Modernism, Mass Culture, Postmodernism
S Kern The Culture of Time and Space, 1880-1918
M Levenson A Genealogy of Modernism
P Nicholls Modernisms: A Literary Guide [recommended secondary text]
M North The Dialect of Modernism: Race, Language & Twentieth-Century Literature
M Perloff The Futurist Moment:Avante-Garde, Avante-Guerre, & the Language of Rupture
B K Scott (ed) The Gender of Modernism
Back to top full course description
As well as providing an intensive study of the works of three prominent twentieth-century poets – W. B. Yeats, T.S. Eliot and Ezra Pound – this course explores the origins and achievements of literary Modernism more broadly through a critical response to its characteristic ideas and motifs. Modernism is seen not just as an unprecedented phase of technical experimentation in the arts, but as the cultural expression of a widespread sense of social and political crisis.
Concentrating on some of the principal volumes of Modernist poetry – The Tower, The Waste Land and The Cantos – the course considers a range of formal and aesthetic issues, including the emergence of vers libre, but it also attends to the cultural politics of specific times and places, and raises questions of national identity, democracy and civilisation, gender and class, spiritual exhaustion and economic expansion.
W.B. Yeats: The Rose (1893) and The Wind Among the Reeds (1899)
Yeats: Responsibilities (1914) and The Wild Swans at Coole (1919)
Yeats: Michael Robartes and the Dancer (1921) and The Tower (1928)
Yeats: The Winding Stair (1933) and Last Poems (1939)
T.S. Eliot: ‘Prufrock’ (1917)
T.S. Eliot: The Waste Land (1922)
T.S. Eliot: Four Quartets (1943) and selected criticism
Ezra Pound: Mauberley (1920)
Ezra Pound: The Cantos (1925-1970)
Select Bibliography
A Benjamin (ed.), The Problems of Modernity: Adorno and Benjamin
M Bernstein, The Tale of the Tribe: Ezra Pound and the Modern Verse Epic
R Bush, The Genesis of Ezra Pound’s Cantos
R Bush, T.S. Eliot: A Study in Character and Style
C Craig, Yeats, Eliot, Pound and the Politics of Poetry
S Deane, ‘Yeats and the Idea of Revolution’, in Celtic Revivals
M Ellmann, The Poetics of Impersonality: T.S. Eliot and Ezra Pound
S Ellis, The English Eliot: Dream Language and Landscape in Four Quartets
R Emig, Modernism in Poetry: Motivations, Structures and Limits
D Frisby, Fragments of Modernity
M Howes, Yeats’s Nations: Gender, Class, and Irishness
H Kenner, The Pound Era
E Larrissy, Reading Twentieth-Century Poetry: The Language of Gender and Objects
J Longenbach, Modernist Poetics of History
M North, The Political Aesthetic of Yeats, Eliot and Pound
C Ricks, T.S. Eliot and Prejudice
E Said, ‘Yeats and Decolonization’, in Culture and Imperialism
S Smith, Inviolable Voice: History and Twentieth-Century Poetry
S Smith, The Origins of Modernism: Eliot, Pound, Yeats and the Rhetorics of Renewal
M Tratner, Modernism and Mass Politics: Joyce, Woolf, Eliot, Yeats
H Underhill, The Problem of Consciousness in Modern Poetry
R Williams, The Politics of Modernism
Tutor: Andrew Gibson or Steven Morrison or Robert Hampson
The principal objective of this course will be to provide students
with a detailed familiarity with the major work of the most eminent modernist
of the century writing in English. There will be a good deal of emphasis on
placing Joyce’s work in a particular (Irish) historical and cultural context But students will also be asked to
familiarize themselves with the history and range of previous Joyce criticism,
and will be encouraged to develop their own approaches. Classes will focus on
Joyce’s most important texts, particularly on Ulysses, and the close
reading of particular passages will constitute a large part of the seminar’s
work. Students should purchase Penguin editions of texts studied. Please use
the edition of Ulysses ed. H W Gabler.
Anatomy of a Colonial Culture: Dubliners
Art and Liberation in Ireland: A Portrait of the Artist as a Young Man
Irish History as ‘Nightmare’: Ulysses chs. 1-3, 9
Bloom in Contemporary Ireland:: chs. 4-8
Micropolitics in Dublin: Ulysses chs. 10-11
Literature/Colonialism: Ulysses chs.12-14
The Carnivalization of Ulysses: ch. 15
Language, science, cultural politics: Ulysses chs.16-17
Joyce, Women and Ireland: Ulysses ch. 18
Finnegans Wake and the Irish Free State
Select Bibliography
S Deane Celtic Revivals
R Foster Modern Ireland 1600-1972
F Lyons Culture and Anarchy in Ireland 1880-1939
M Beja (ed) James Joyce: Dubliners and A Portrait: A Casebook
D Cairns & S Richards Writing Ireland
V Cheng Joyce, Race and Empire
E Duffy, The Subaltern Ulysses
R Ellmann James Joyce; Ulysses on the Liffey; The Consciousness of Joyce
W Empson ‘Joyce’s Intentions’, in Using Biography
J Fairhall James Joyce and the Question of History
A Gibson, (ed) Reading Joyce’s ‘Circe’; and (ed) Joyce’s ‘Ithaca’
D Gifford Joyce Annotated: Notes for Dubliners and A Portrait of the Artist
D Gifford and R J Seidman Ulysses Annotated
C Hart and D Hayman (eds) James Joyce’s Ulysses
C Herr Joyce’s Anatomy of Culture
P Herring Joyce’s Uncertainty Principle
T Hofheinz James Joyce and the Invention of Irish History
U Kumar The Joycean Labyrinth
H Kenner ‘Ulysses’; Joyce’s Voices
K Lawrence The Odyssey of Style in ‘Ulysses’
E Nolan James Joyce and Nationalism
M Norris Joyce’s Web
P Parrinder, James Joyce
L Platt, Joyce and the Anglo-Irish
J P Riquelme Teller and Tale in Joyce’s Fiction
F Senn Joyce’s Dislocutions
R Spoo James Joyce & the Language of History
M Tymoczko The Irish ‘Ulysses’
K Wales, The Language of James Joyce
Tutor: Robert Hampson
The course examines a range of novels and short stories that engage with colonialism, race and gender from various perspectives. It begins with responses to imperialism in early and middle-period Conrad. It then moves to Conrad’s treatment of the metropolis in his late novels. Throughout attention will be paid to Conrad’s treatment of race and gender in these different contexts. The last part of the course will look at the work of Conrad’s friend and collaborator, Ford Madox Ford. It will consider the ideas about the form of the novel that Conrad and Ford developed together, and it will use Ford’s work as a comparison to Conrad’s. It will consider Ford’s representation of war and the way war challenges social values and, in particular, constructions of gender. Week-by-week the texts are:
Conrad, Heart of Darkness
Conrad, ‘An Outpost of Progress’ / ‘Karain’
Conrad, Almayer’s Folly
Conrad, Lord Jim or Nostromo
Conrad, ‘The Informer’ and ‘Il Conde’ (A Set of Six)
Conrad, The Secret Agent
Conrad, Chance or Victory
Ford, The Good Soldier
Ford, Parade’s End (I)
Ford, Parade’s End (II)
Select Bibliography
a) Joseph Conrad
Linda Dryden, Joseph Conrad and the Imperial Romance (2000).
Aaron Fogel, Coercion to Speak: Conrad’s Poetics of Dialogue (1985).
Andrew Gibson and Robert Hampson, Conrad and Theory (1998).
Robert Hampson, Joseph Conrad: Betrayal and Identity (1992).
Robert Hampson, Cross-Cultural Encounters in Conrad’s Malay Fiction (2000).
Jeremy Hawthorn, Joseph Conrad: Narrative Technique and Ideological Commitment (1990).
Bruce Henricksen, Nomadic Voices: Conrad and the Subject of Narrative (1992).
Susan Jones, Conrad and Women (1999).
Jakob Lothe, Conrad’s Narrative Method (1989).
Andrew Michael Roberts (ed.), Conrad and Gender (1993).
Andrew Michael Roberts, Conrad and Masculinity (2000).
J H Stape, The Cambridge Companion to Joseph Conrad (1997).
Andrea White, Joseph Conrad and the Adventure Tradition (1993).
b) Ford Madox Ford
Richard A Cassell (ed.), Ford Madox Ford: Modern Judgements (1972).
Richard W Lid, Ford Madox Ford - The Essence of His Art (1964).
John A Meixner, Ford Madox Ford’s Novels: A Critical Study (1962).
Ann Barr Snitow, Ford Madox Ford and the Voice of Uncertainty (1984).
Tutor: Betty Jay
The course aims to explore a range of Woolf’s writings, including a selection of her essays and her major novels. The primary texts will enable a focus on Woolf’s experimentation with language and form, and well as a discussion of question of feminism and psychoanalysis intrinsic to the depiction of subjectivity in her work. The primary reading will be supplemented by study of a number of critical and theoretical responses to Woolf, which will lead students to a consideration of her place in Modernism.
‘The Mark on the Wall’ (1917) and ‘Modern Fiction’ (1919)
‘An Unwritten Novel’ (1920) and Jacob’s Room (1922)
‘Mr Bennett and Mrs Brown’ (1924) and ‘O Being Ill’ (1926)
Mrs Dalloway (1925)
To The Lighthouse (1927)
Orlando (1928)
A Room of One’s Own (1929)
The Waves (1937)
The Years
Select Bibliography
E Abel, Virginia Woolf and the Fictions of Psychoanalysis
E Barrett and P Cramer, Virginia Woolf: Lesbian Readings
R Bowlby, Virginia Woolf: Feminist Destinations
L Brosnan, Reading Virginia Woolf’s Essays and Journalism
P L Caughie, Virginia Woolf and Postmodernism
D Dowling, Mrs Dalloway: Mapping Streams of Consciousness
D Ferrer, Virginia Woolf and the Madness of Language
S Gilbert and S Gubar, The Female Imagination and the Modernist Aesthetic
M Hirsch, The Mother/Daughter Plot: Narrative, Psychoanalysis, Feminism
K Kitsi-Mitakou, Feminist Readings of the Body in Virginia Woolf’s Novels
J Marcus, Virginia Woolf and the Languages of Patriarchy
This Course is taught as part of the MA in American Studies at the Institute for United States Studies, Senate House, Bloomsbury. The course aims to give a selective overview of American literature (focussing mainly on fiction) in the twentieth century, and to provide students with an insight into the main preoccupations of that literature.
With the Armoury Show in 1913, and the arrival of Duchamp and Mina Loy in America, European Modernism had arrived, sending its shock waves through all the arts, and producing a demand for new art forms to match the new and largely urban world of speed, technology and relativity. In the work of William Carlos Williams and others, modernism was given a pragmatic, American slant; in the 1930s Surrealism had a major impact. The course deals with the arrival of modernism in America, but it also considers what could be seen as the distinctively American contribution of the Harlem Renaissance and the ‘Jazz Age’, as well as other issues including the relationship between literature and politics in the 1930s. A number of films will be studied, alongside the novels, poetry, plays and essays which form the core of the course.
It is taught in 24 two-hour seminar classes (or 12 classes in the case of students taking either half as a one-term option). Each student will be expected to give at least one seminar presentation each term. The course is assessed by one essay of up to 7,000 word.
Introduction: Carl Sandberg, Chicago Poems (1916)
Immigration and pastoral: Willa Cather, My Ántonia (1918, various eds.); Randolph Bourne, ‘Trans-national America’ (essay, handout)
Responses to the Machine Age: Henry Adams, ‘The Dynamo and the Virgin’ (1900, essay); Sophie Treadwell, Machinal (1929, play); and Charlie Chaplin, Modern Times (film)
Early American Modernism: William Carlos Williams, Spring and All; Mina Loy and Wallace Stevens, poems from the journal Others (handout); Gertrude Stein, prose (handout)
The double self and the colour line: Jean Toomer, Cane (1923, Norton)
High and Low culture in the ‘Jazz Age’: blues, ragtime, jazz; Al Jolson in The Jazz Singer and poetry by Langston Hughes and others
Modernism & consciousness: William Faulkner, As I Lay Dying (1930)
Politics & the individual story: John Dos Passos, The 42nd Parallel [vol.1 of U.S.A.] (1932)
Modernism and Surrealism: Djuna Barnes, Nightwood (1937, Faber & Faber)
Mass culture: Nathanael West, The Day of the Locust (1939) and the films of Buzby Berkeley
Modernity, politics and ‘race’: Richard Wright, Native Son (1940)
Preliminary Secondary Reading
Malcolm Bradbury, The Modern American Novel, rev. ed.
Ann Douglas, Terrible Honesty: Mongerel Manhattan in the 1920s
Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness
Brian Lee, American Fiction, 1865-1940
Douglas Tallack, Twentieth Century America: The Intellectual and Cultural Context
Steven Watson, Strange Bedfellows: The First American Avante-Garde
IT and bibliographical resources: MA students in
literature should familiarize themselves with the main journals in the area
(held in Senate House) and with appropriate bibliographical tools, including
the MLA Bibliography, BIDS, internet etc.
Tutors: Robert Hampson
The poetry course is concerned with ‘linguistically innovative poetry’ / poetry of the signifier and with the development of an urban poetic within this area of poetic production. London and New York are the particular urban locations. Comparison is also made with other art forms. The course is designed to draw upon, and interact with, the theoretical reading undertaken for the core course.
The resources for the poetry course are the RHUL College Library, the University of London Library, the Poetry Library in the Royal Festival Hall, the Small Press Collection at University College, and xeroxed material provided by the course teacher. The following anthologies are also useful: Maggie O’Sullivan (ed.), Out of Everywhere (Reality Street, 1997); Iain Sinclair (ed.), Conductors of Chaos (Picador 1997); Clive Bush (ed.), Worlds of New Measure (Talus Editions, 1997)
Introduction (Roy Fisher, surrealism, the post-Poundian tradition; urban poetics)
New York School: Frank O’Hara and others; Barbara Guest
Lee Harwood; Allen Fisher
Parataxis and Narrative (Perelman and Hejinian)
Bruce Andrews; Denise Riley
Out of Everywhere (O’Sullivan, Bergvall)
Theoretical texts by LANGUAGE poets and/or linguistically innovative women poets
Select Bibliography
C Bernstein (ed) The Politics of Poetic Form: Poetry and Public Policy
C Bush Out of Dissent: A study of five contemporary British Poets
R Hampson & P Barry (eds) New British poetries: The Scope of the Possible
B Perelman The Marginalization of Poetry
The aim of this course is to introduce students to a range of twentieth-century novels by women which emphasise the construction and development of the subject. Including work by British and American writers, the course covers the period from 1933 to 1987. Issues relating to history, religion, gender and race are central to these texts. The texts studied enable discussion of the strategies writers adopt in order to represent and also interrogate the relationship between identity and culture.
The course is divided into four blocks: the Bildungsroman, which explores the passage from childhood and adolescence to maturity; Divided Selves, which considers the disintegration of subjectivity; African-American writing, and an exploration of texts in which individual and collective trauma is negotiated; Postmodern Selves, including an examination of new models for subjectivity.
Spirituality and Sexuality: Antonia White, Frost in May
Carson McCullers, Member of the Wedding
Harper Lee, To Kill a Mockingbird
Jeanette Winterson, Oranges are Not the Only Fruit
Counter-Canonical Subjects: Jean Rhys, Wide Sargasso Sea
Writing Madness: Sylvia Plath, The Bell Jar
Flora Rheta Schreiber, Sybil
Alice Walker, Possessing the Secret of Joy
Alice Walker, The Color Purple
Toni Morrison, The Bluest Eye
Invented Genealogies: Angela Carter, Wise Children
Maxine Hong Kingston, The Woman Warrior: Memoirs of a Childhood Among Ghosts
Louise Erdrich, Love Medicine
Identity/ Myth: Winterson, Sexing the Cherry
Select Bibliography
Changing the Story: Feminist Fiction and the Tradition
Elizabeth Abel (ed) Writing and Sexual Difference
Margaret Ezell Writing Women’s Literary History
Jane Gallop Feminism and Psychoanalysis: The Daughter’s Seduction
bell hooks Black Looks: Race and Representation and Yearning: race, gender, and cultural politics
Karla Jay and Joanne Glasgow (eds) Lesbian Texts and Contexts: Radical Revision
Linda Kauffman (ed) American Feminist Thought at Century’s End
Deirdre Lashgari (ed) Violence, Silence,& Anger: Women’s Writing as Transgression
Moira Monteith (ed) Women’s Writing: A Challenge to Theory
Sally Munt (ed) New Lesbian Criticism: Literary and Cultural Reading
Ann Rutherford et al. Into the Nineties: Post-Colonial Women’s Writing
Gina Wisker It’s My Party: Reading Twentieth-Century Women’s Writing
Jean Wyatt Reconstructing Desire: the Role of the Unconscious in Women’s Reading and Writing
Patricia Yaeger Honey-mad Women: Emancipatory Strategies in Women’s Writing
Bonnie Zimmerman The
Safe Sea of Women: Lesbian Fiction
Tutor: Andrew Gibson (currently on two-year
Leverhulme grant)
The object of this course is to introduce students to a specific range of contemporary representations of London, its history and geography. In doing so, it takes in both specific aspects of contemporary London literature and culture and elements of postmodern geography relating to the representation and analysis of urban experience.
The course comprises five sections: weeks 1-3, historical discourses; weeks 4-6, theorists of the city; weeks 7-9, work on London; weeks 9-16, novels; 17-20, popular culture.
The course is taught at the central London site (Bedford Square, Bloomsbury).
Christopher Hibbert, London: A Biography
Francis Shepherd, London: A History
Roy Porter, London: A Social History
Henri Lefebrve, The Production of Space
Michel de Certeau, ‘Walking in the City’ (in The Practice of Everyday Life)
Susan Bucks-Morss, The Dalectics of Seeing: Walter Benjamin and the Arcades Project
David Harvey, The Condition of Postmodernity
Doreen Massey, ‘A Global Sense of Place’; ‘Places and their Pasts’
Felix Driver and David Gilbert, Imperial Cities
Jane Jacobs, Edge of Empire: Postcolonialism and the City
Peter Ackroyd, Dan Leno and the Limehouse Golem
Iain Sinclair, Lights Out for the Territory
Michael Moorcock, Mother London
Zadie Smith, White Teeth
Timothy Mo, Sweet Sour
Hanif Kureshi, The Buddha of Suburbia
Samuel Selvon, The Lonely Londoners
Popular culture (no syllabus, student choice among a range of materials)
Select Bibliography
T Barker & A Sutcliffe (eds), Megapolis: The Giant City
in History
D Feldman and G S Jones (eds), Metropolis London: Histories and Representations
S Humphries & J Taylor, The Making of Modern London 1945-85
G Benko & U Strohmeyer, Space and Social Theory: Interpreting Modernity and Hypermodernity
M Crang, Cultural Geography
J Hall, Metropolis Now
J Hoggart & D Green, London: A New Metropolitan Geography
R Silverstone (ed), Visions of Suburbia
B Jarvis, Postmodern Cartographies
R Lehan, The City in Literature
R Legates and F Stout (eds), The City Reader
D Clark (ed), The Cinematic City
Tutor: Professor
Elleke Bohemer Full Unit
This course aims to explore some of the key
issues and debates in the broadly ramifying fields of postcolonial writing,
theory and criticism. The first term
will investigate leading approaches and topics in the area, ranging from
passive resistance and subalternity to mimicry
and transnationalism. We will focus in
particular on how postcolonial activism has shaped theory. In the second term we will be looking in
more detail at these approaches through the lenses of two issues which impact
on our postcolonial times: migration, and terror.
FIRST TERM: Postcolonial writing and theory
Week one:
M.K. Gandhi, Hind Swaraj, ed. A.J. Parel (Cambridge)
Sister Nivedita, Aggressive Hinduism (extracts)
Aurobindo, The Doctrine of Passive Resistance
Week
two:
Steve Biko, I write what I like (Heinemann)
Frantz Fanon, The Wretched of the Earth (Penguin)
Frantz Fanon, Black skin, White Masks (Pluto)
Bessie Head, A Question of Power (Heinemann)
Week
four:
Edward Said, Orientalism (extracts)
Tayib Salih, Season of Migration to the North (Penguin)
Week
five:
Neil Lazarus, from Nationalism and Cultural Practice (Cambridge)
Nadine Gordimer, Jump and other Stories (Bloomsbury)
Week
six:
Dipesh Chakrabarty, Provincialising Europe (Princeton)
Paul Gilroy, The Black Atlantic (Verso)
Week
seven:
Amitav Ghosh, In an Antique Land (Granta)
Week eight:
Gayatri Spivak, A Critique of Postcolonial Reason (extracts)
J.M. Coetzee, Foe (Penguin)
Week
nine:
Benita Parry, extracts from Postcolonial Studies: A Materialist Critique
Rudyard Kipling, ‘Lispeth’, Plain Tales from the Hills
Week
Ten:
Stuart Hall, ‘Culture and Diaspora’ and ‘What is this “black” in black popular culture?’
Homi Bhabha, The Location of Culture (Routledge)
Week
One:
Sam Selvon, The Lonely Londoners (Longman)
Week
Two:
Hanif Kureishi, My Ear at his Heart: Reading my Father (Faber)
Week Three:
Salman Rushdie, The Moor’s Last Sigh (Vintage)
Week Four:
Jamaica Kincaid, Lucy (Farrar, Straus, Giroux)
Week
Five:
Andrea Levy, Small Island (Random House)
Week
Six:
Ngugi, Matigari (Heinemann)
Week
Seven:
V.S. Naipaul, Guerrillas (Penguin)
Week
Eight:
Michael Ondaatje, The English Patient (Bloomsbury)
Week
Nine:
Doris Lessing, The Good Terrorist (Vintage)
Week
Ten:
Gillian Slovo, Every Secret Thing (Abacus)
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