Uzbekistan state university of world languages english language faculty №2 Course work Theme: John Wain- his life and work

CHAPTER 2. Writing style raised topics in his works
2.1Writing style and topics discussed in the works of the author
This is focused on English-language literature rather than the literature of England, so that it includes writers from Scotland, Wales, and the whole of Ireland, as well as literature in English from former British colonies. It also includes, to some extent, the US, though the main article here is American literature.
Modernism is a major literary movement of the first part of the twentieth-century. The term Postmodern literature is used to describe certain tendencies in post-World War II literature.⁴
Angry Young Men, various British novelists and playwrights who appeared in the 1950s and expressed scorn and disillusionment with the established sociopolitical order of their country. Their impatience and resentment were especially aroused by what they perceived as the hypocrisy and mediocrity of the upper and middle classes. The Angry Young Men were a new breed of literati who were mostly of working class or of lower middle-class origin. Some had been educated at the postwar red-brick universities at the state’s expense, though a few were from Oxford. They shared an outspoken irreverence for the British class system, its traditional network of pedigreed families, and the elitist Oxford and Cambridge universities. They showed an equally abandoned disdain for the drabness of the postwar welfare state, and their writings frequently expressed raw anger and frustration as the postwar reforms failed to meet exalted aspirations for genuine change. The trend that was evident in John Wain’s novel Hurry on Down (1953) and in Lucky Jim (1954) by Kingsley Amis was crystallized in 1956 in the play Look Back in Anger, which became the representative work of the movement. When the Royal Court Theatre’s press agent described the play’s 26-year-old author John Osborne as an “angry young man,” the name was extended to all his contemporaries who expressed rage at the persistence of class distinctions, pride in their lower-class mannerisms, and dislike for anything highbrow or “phony.” When Sir Laurence Olivier played the leading role in Osborne’s second play, The Entertainer (1957), the Angry Young Men were acknowledged as the dominant literary force of the decade. Their novels and plays typically feature a drifting, lower-middle or working-class male protagonist who views society with scorn and sardonic comedy and may have brawls with authority but who is nevertheless preoccupied with the quest for upward mobility.
The writer describes plenty of topic in his works. Most popular topic is fiction The term ‗working – class fiction ‘in the researcher ‘s viewpoint does not necessarily entail that the writer of this type of fiction belongs to the working-class. The basic point in question is the paramount emphasis this fiction lays on the condition of this class, its aspirations and frustrations in a turbulent world. A very wide and representative works are by Alan Sillitoe, John Wain and John Braine. Hopefully, these works may cast light on the salient characteristics of this kind of fiction. A survey of the prevalent circumstances on post-war Britain, however, is considered as indispensable clue in judging the attitudes and views of the writers concerned. The years that followed Second World War brought about a radical change in the whole social fabric in Britain with its ultimate, inevitable effect on literature and culture in general. The social system was undergoing a ceaseless proves of change that put an end to the dominant type of the old middle-class citadels, whether of the country or provincial town in the English society, and the emergence of new variables – economic, political, and social – that exerted their impact on the intellectual and literary scene in Britain in the wake of the Second World War. People ‘s behavior and attitudes reflected that state of social instability since these changes ―are incorporated in the existing attitudes, and often, at first seen to be only freshly presented forms of those ‗older ‘attitudes. Individuals can therefore inhabit more than one ‗mental climate ‘without conscious strain… It is fitting that much of the autobiographical writing included here is about Stoke-on-Trent, or the smoky place of narrow terraces and bottle kilns he knew in his youth which was not, in essence, all that different to the Five Towns of Arnold Bennett. It seemed for some years that he had turned against the place in favor of Oxford, a stance that in different forms was common to many of his fellow Fifties writers and was (of course) as much about a young man rejecting his parents’ values as any genuine hostility to the place itself. But in later years he was as grateful for the gifts that Stoke had given him as those of his adopted city. In the 1970s and ‘80s it gave him a lot of pleasure to be an on-hand ‘textual adviser’ for Peter Chessman’s Shakespearean productions at the Victoria Theatres in Stoke, both Old and New, and even more pleasure for the Vic to stage, in 1975, his own play, Harry In the Night. In Professing Poetry he looked back on the ethos of this play.⁵