Cited page

Citations are available only to our active members. Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

X X

Cited page

Display options
Reset

Age of Extremes: During the Cold War, Writers Were Forced to Negotiate a Perilous Intellectual Divide. the Result Was the Greatest Era of Political Fiction We Have Known

By: Caute, David | New Statesman (1996), June 28, 2010 | Article details

Look up
Saved work (0)

matching results for page

Why can't I print more than one page at a time?
While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.

Age of Extremes: During the Cold War, Writers Were Forced to Negotiate a Perilous Intellectual Divide. the Result Was the Greatest Era of Political Fiction We Have Known


Caute, David, New Statesman (1996)


The political novel--the urgent, morally committed depiction of conflicts and tragedies -flourished during the 1930s and 1940s, amid depression, fascism and total war, when Soviet communism was the socialist star on an otherwise darkening horizon. This era spawned some of the finest political fiction and drama we have known: Hemrich Mann, Bertolt Brecht, Andre Malraux, Arthur Koestler, George Orwell, Ernest Hemingway, John Dos Passos, Jean-Paul Sartre, Simone de Beauvoir and Albert Camus were all writing at full throttle.

[ILLUSTRATION OMITTED]

In my opinion, the cold war--and the fiction it created--begins in the 1930s with the Spanish civil war. Young writers made the pilgrimage to Republican Spain and some of them died. Orwell escaped death by a whisker, as a bullet passed through his neck. Malraux led an air squadron and produced a novel of electric expressionism, Man's Hope (1937). Hemingway settled down to the measured, crafted storytelling of For Whom the Bell Tolls (1940). But if anti-fascism was the point of departure for all these writers, they would soon divide over the nature of the Stalinist intervention in Spain.

Dos Passos, the most formally innovative of all interwar novelists, chose to …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Select text to:

Select text to:

  • Highlight
  • Cite a passage
  • Look up a word
Learn more Close
Loading One moment ...
Highlight
Select color
Change color
Delete highlight
Cite this passage
Cite this highlight
View citation

Are you sure you want to delete this highlight?