Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 5 - David Garnett, Flight and Earthly Creatures

  • Derek Ryan, University of Kent
  • Book:
    Bloomsbury, Beasts and British Modernist Literature
    Published online:
    01 December 2022
    Print publication:
    15 December 2022, pp 140-168

  • Summary

    This chapter considers the associations between animality and aviation in the 1930s. It begins by explaining how Garnett’s reading of the Russian entomologist Boris Uvarov was crucial to his completion of his novel The Grasshoppers Come (1931), which contains such convincing depictions of insects that Uvarov suspected Garnett had viewed them first-hand (the letters Uvarov wrote to Garnett are here reproduced for the first time). Reading this novel alongside his diary-record of learning to fly, A Rabbit in the Air (1932), the first half of the chapter goes on to analyse how Garnett’s texts present an aesthetics of flight that hinges on connections and dissonances between human, animal and machine. The second part illustrates how Garnett’s aeronautical writing extended to the context of war and the publication of War in the Air (1941), which he wrote for the Air Ministry. By avoiding associations that had by the Second World War become bound up in nationalist bombast, Garnett subverts the increasingly masculinist and militarist approach to technology and animality found in other writings as the decade progressed.