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By J. Dillon Brown
In Migrant Modernism, J. Dillon Brown examines the intersection among British literary modernism and the foundational West Indian novels that emerged in London after global battle II. by means of emphasizing the site within which anglophone Caribbean writers equivalent to George Lamming, V. S. Naipaul, and Samuel Selvon produced and released their paintings, Brown finds a dynamic convergence among modernism and postcolonial literature that has usually been neglected. Modernist suggestions not just supplied a fashion for those writers to mark their distinction from the aggressively English, literalist aesthetic that ruled postwar literature in London but in addition served as a self-critical medium by which to regard subject matters of nationalism, cultural inheritance, and identity.
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D. Scott’s “In the Movement”—the article from which the Movement got its name (and this chapter its epigraph)—explicitly makes this connection as well, arguing for the rising young writers as the literary incarnation of British social change. Morrison notes that many of these writers “identified with a viewpoint hostile to the ‘old order’ ” (74): they wrote about and listened to jazz music as a gesture toward participating in unsanctified culture, while Amis and Conquest both put out critical work praising science fiction, thus pointedly demonstrating their antiestablishment credentials.
Such economic vulnerability manifested itself throughout the 1950s by recurrent hard currency crises that threatened the nation’s solvency and undermined national confidence. Norman Mackenzie, writing in 1959, captures his generation’s sense of beleaguered bewilderment that Britain’s world position was far different from its accustomed dominance: “Two world wars, punctuated by a great depression, have made it impossible for the British to compete on equal terms with America or Russia, or even to hold what they have” (Conviction, 12).
In such a light, the cosmopolitan internationalism associated with modernism—characterized by a desire to transcend or at least complicate the strict segregation of national borders— seems a promising alternative. Moreover, in contrast to the simplicity and plainness advocated by Amis, At the Scene of the Time 33 the complexity of modernism coded as “intellectual”—no small consideration for writers who belonged to a group of people widely perceived to be primitive and unthinking. An affiliation with modernism in the British context, then, could also be seen to help counteract the British populace’s general perception of West Indian primitivism and difference.