Imaginative And Travel Literature

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a nd places. Many writers and artists of the period worked in someone else’s metropolis; the modern metropolis was as much a contact zone, in Mary Louis Pratt’s phrase. Modern texts register a new consciousness of cultural heterogeneity, the condit ion and mark of the modern world; in both imaginative and travel writing, modernity, the meeting of other cultures, and change are inseparable (Hulmes & Youngs 74). The co mmon concerns of the imaginative and travel literature of this time, and the mobility of the literary writers, probably account for the emergence of travel writin g in the latter part of this period as the more literary and autonomous genre. Earlier tra vel writing often came out of travel undertaken for reasons of work, education, …show more content…

Travel, mobility and international relations were all cruci al dimensions of modernism. Travel writing was not usually seen as the basis of a lite rary career before the Second World
War. During the First World War military mobilizati on meant that leisure travel had to cease. Writers like D.H. Lawrence and T.E. Lawre nce recorded their pre-war and during the war experiences respectively. T. S. Elio t – for whom journeying and displacement are constant motifs, although he was n ot a travel writer himself – encapsulates many of the themes of inter-war travel writing in The Waste Land. The sense of an older, more aesthetic world in the thro es of decay was not entirely new.
Mary Louis Pratt has argued in her Imperial Eyes (p.5) that travel writing in the eighteenth and nineteenth centuries ‘ produced’ “the rest of the world” for Europeans, but creeping into the travel writing of the late ni neteenth century and beyond is the fear that ‘the rest of the world’ is losing its dis tinctive otherness, and the perturbing recognition that the lines of demarcation between E urope and the other are becoming disturbingly blurred. Travel writers became increas ingly aware that they …show more content…

If travel writing had become deliberately anti-romantic, it w as in addition anti-heroic. Animal imagery, used by earlier travellers to describe sav age others, is now applied to the hapless American tourists. Paul Fussell suggests in his study of travel writers of this period that travel in the inter-war years often app eared to be more about escaping from England than anything else. It was also the ca se that many were fleeting out of
Europe, not in search of adventure but of safety.
The genre flourished in the War years in experiment al, Modern modes and in more traditional forms. Critically acclaimed travel ogues by the writers of 1920s were
T.E. Lawrence’s The Seven Pillars of Wisdom (1922), D.H. Lawrence’s Sea and
Sardinia (1921) and Mornings in Mexico (1927) and André Gide’s Voyages au Congo
(1927). The genre remained popular with the general reader, with the middle-brow writers like Rosita Forbes, H.V. Morton and Richard Halliburton achieving great commercial success. 1930s is often regarded as a go lden age for literary

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