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It is connected with various experimental techniques. Another aspect is the gradual exploring of the relationship between reality and fiction.
John Fowles (1926) in his novels often reflects tension between reality and fiction and he thinks about the nature of fiction. His novel The French Lieutenant’s Woman (1969) is set in Victorian England in 1867 and its basic plot deals with the love affair between Charles Smithson, a modern Victorian gentleman, and a mysterious Sarah Woodruff, who is supposed to be the mistress of a French Lieutenant. At the end, he even offers to his readers three alternative endings. He was also the author of poems and essays.
Ian McEwan (1948) was promoted as one of the most talented writers after publishing his first book First Love, Last Rites (1975). He presents various types of sexual perversions. The Innocent (1990) is a kind of spy-novel with horror elements. He also published the collection of short stories Between the Sheets (1975).
POETRY AFTER WORLD WAR II
Another circle of young Cambridge poets called “The Group” appeared around the magazine Delta as the reaction to “The Movement” in late fifties. It was later called “Poetry Workshop”. The most original were Ted Hughes, Peter Redgrove, Peter Porter and Alan Brownjohn. The term “Underground Poets” was applied to a number of British poets active from the late 1950s to the 1970s. They were anti-war, non-traditional and experimental. “Liverpool Poets” was a group of poets native to the city of Liverpool. Their recitals were witty, they used slang and robust images.
Seamus Heaney (1939) was confronted with the Irish political situation and Ulster Roman Catholicism. His later collections Wintering Out (1972), North (1975) and Field Work are aimed at the themes of Irish mythology, the past and the present. Field Work offers an elegiac meditation on the crisis in Ulster and its consequences. His work is considered the best poetic achievement not only in Ulster but also in British poetry of the last decades. DEVELOPMENT OF ENGLISH DRAMA
The first decades of the twentieth century are not very influential in the English drama. The commercial theatres offered plays that followed conventional plots.
T.S.Eliot wanted to revive poetic drama in which the poetic vision affected radically the whole structure of the play.
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