Tuesday, January 26, 2016

Bray, 1965: The Year Modern Britain Was Born (2014)

Christopher Bray.
1965: The Year Modern Britain Was Born.
London: Simon & Schuster U.K., 2014.

Book information: Publisher; Google Books; Amazon.co.uk; Amazon.com.

Author information:

Book Reviews:
  • David Lister, "Book Review: The Sixties didn't begin when we think they did – or so this revisionist cultural history claims," The Independent, 17 April 2014.
  • Dominic Sandbrook, "Review," The Sunday Times, 27 April 2014. (subscription required)
  • Iain Morris, "Review: analysis of a revolution: A combination of arts criticism and political commentary demonstrates why the events of the 1960s are still relevant," The Observer, 28 April 2014.
  • Roger Lewis, "The groovy time good old Britain died," Daily Mail, 1 May 2014.
  • Tom Slater, "1965: The Year Everything (Almost) Changed: The Sixties offered more questions than answers, but the optimism of that decade is worth celebrating," Spiked Online, 9 May 2014.
  • Jonathan Mirsky, "Naked Truths," Literary Review, Issue 421, June 2014. (subscription required)
  • David Marx, "Book Review," David Marx : Book Reviews, 20 July 2014.
  • Alan Glynn, "It Was a Very Good Year," Los Angeles Review of Books, 1 November 2014.
    Discusses some of the problems with single year books.
  • Victoria Segal, "Review: While more famously cosmic or revolutionary years followed, Bray believes 1965 ‘gave us a new tomorrow’ as this fascinating survey shows," The Guardian, 23 January 2015.

Video and Lectures: 1960s Britain
  • James Vernon, "Lecture 24," History 151C, The Peculiar Modernity of Britain, 1848-2000, University of California, Berkeley, Fall 2011.
    Prof. Vernon discusses the 1960s in this lecture from a course on Modern Britain (course description; YouTube playlist). Note that he comments on the arbitrary device of using decades to study change in human societies.
  • Dominic Sandbrook, "The Lost World of 1962," Gresham College, London, 5 July 2012.
    Lecture webpage at Gresham College.
    Sandbrook sees 1962 as a hinge year.
  • 'Annus Mirabilis', a poem by Philip Larkin (1922–1985).
    Or perhaps we should view 1963 as the hinge year? (Larkin, a source for a few comments in Bray's narrative, is never a focus of attention in Bray's book.)
  • The 60s: The Beatles Decade, UKTV History, 2006.
    Episode 1: "Teenage Rebels: 1960-1962" (copy 1, copy 2)
    Episode 2: "Sex, Spies and Rock and Roll: 1962-1964" (copy 1, copy 2)
    Episode 3: "Swinging Britain: 1965-1966" (copy 1, copy 2)
    Episode 4: "Street Fighting Years: 1967-1968" (copy 1, copy 2)
    Episode 5: "The Party's Over: 1969 - 1970" (copy 1, copy 2)

Some Wikipedia Articles:

Wikipedia Articles, YouTube, etc. - Organized by Book Chapter

Chapter 1: In which our stage is set
  • Winston Churchill (1874-1965).
  • T. S. Eliot (1888-1965).
  • Modernism.
    Modernist poetry in English.
  • These quotes from Chapter One summarize Bray's view of 1965 as a turning point:

    "In life Churchill had liberated his people from the threat of tyranny. In death he would liberate them some more -- liberate them from what the novelist John Fowles was simultaneously calling 'the grotesquely elongated shadow . . . of that monstrous dwarf Queen Victoria'. Cultures do not change overnight, of course. Nonetheless, John Grigg's suggestion that Churchill's death 'relieves us of a psychological burden' was surely right. Churchill's passing licensed a whole vision of the past to pass too." (page 12)

    "No less than Churchill's death, the passing of the high priest of high culture would license a revolution. In the months following, the modernism Eliot had helped invent was imported into the pop culture he had loathed. And that pop culture became part of the hight culture he loved. . . .
    "History isn't, of course it isn't, the biography of great men. That doesn't mean, though, that the deaths of the likes of Winston Churchill and T.S. Eliot, the choice and master spirits of their age, don't reverberate through national life. . . . Consciously or not their countrymen registered the fact that the two guardians of the past were gone.
    "The poet who died on 4 January 1965 detested the cultural world he had helped bring into being. And the statesman who died three weeks later had fought for the freedom of his country only to find himself more and more disapproving of what that freedom had led to and was being used for. Eliot and Churchill were men out of time. Now, though, they were out of it altogether -- and the nation that had for so long been dominated by their backward-looking fantasies turned their attention to the future.
    "Right on cue, the future arrived. . . . A feeling of change [was] in the air. Over the next twelve months Britain would finally say goodbye to its fusty, crusty days-of-empire reveries and turn that feeling into fact." (pages 18-19)

Chapter 2: In which Britain gets surreal

Chapter 3: In which painters, writers and filmmakers lay the ground for Britain's feminist revolution

Chapter 4: In which the car guns the motor of the Thatcher revolution

Chapter 5: In which pop goes modern, and classicism rediscovers melody

Chapter 6: In which the establishment is disestablished -- but so are standards in schools

Chapter 7: In which sanity is challenged and the family falls apart

Chapter 8: In which our heroes find Queen and Country wanting

Chapter 9: In which the censors cannot hold

Chapter 10: In which the new great and good are set before the nation

Epilogue: In which today comes into view

Tuesday, January 19, 2016

More, The Industrial Age: Economy and Society in Britain since 1750, 2e (1997)

Charles More.
The Industrial Age: Economy and Society in Britain since 1750, second edition.
London: Longman (Addison Wesley Longman Ltd.), 1997.
Abingdon: Routledge, 2013.

Book information: Publisher; Google Books; Amazon.co.uk; Amazon.com.

This book is an introductory textbook on the economic history of Britain.
Chapter 34 summarizes various explanations for British economic decline.

Some Wikipedia Articles: