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Americanizing Britain
Modernist Literature & Culture
Kevin J. H. Dettmar & Mark Wollaeger, Series Editors

Consuming Traditions Criminal Ingenuity

Elizabeth Outka Ellen Levy

Machine-Age Comedy Modernism’s Mythic Pose

Michael North Carrie J. Preston

The Art of Scandal Pragmatic Modernism

Sean Latham Lisi Schoenbach

The Hypothetical Mandarin Unseasonable Youth

Eric Hayot Jed Esty

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Matthew Hart Jon Hegglund

Modernism & Copyright Americanizing Britain

Paul K. Saint-Amour Genevieve Abravanel

Accented America
Joshua L. Miller
Americanizing
Britain
The Rise of Modernism in the Age
of the Entertainment Empire

Genevieve Abravanel

1
3
Oxford University Press, Inc., publishes works that further
Oxford University’s objective of excellence
in research, scholarship, and education.

Oxford New York

Auckland Cape Town Dar es Salaam Hong Kong Karachi
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Copyright © 2012 by Oxford University Press, Inc.

Published by Oxford University Press, Inc.

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www.oup.com

Oxford is a registered trademark of Oxford University Press

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of Oxford University Press.

A CIP record is available from the Library of Congress.

ISBN 978-0-19-9754458

9 8 7 6 5 4 3 2 1

Printed in the United States of America

on acid-free paper
 Contents

Series Editors’ Foreword vii

Acknowledgments xi

Introduction 1
1. Ameritopias: Transatlantic Fictions of England’s Future 24
2. Jazzing Britain: The Transatlantic Jazz Invasion and
the Remaking of Englishness 53
3. The Entertainment Empire: Britain’s Hollywood between the Wars 85
4. English by Example: F.R. Leavis and the Americanization
of Modern England 110
5. Make It Old: Inventing Englishness in Four Quartets 131
Afterword 157

Notes 165
Index 197

v
This page intentionally left blank
 Series Editors’ Foreword

There are many things we love about editing the Modernist Literature & Culture
series: one of those is nicely represented in Genevieve Abravanel’s Americanizing
Britain: The Rise of Modernism in the Age of the Entertainment Empire. To wit: it’s
a thrill to encounter the work of new scholars in modernist studies, and to allow
their work to mess with your head.
For us, the central paradox of Americanizing Britain is this: if Abravanel’s claim
is correct—if much about British modernism can be understood only by restoring
the dynamic relationship of British and American to those various other vectors
along which we’ve become used to performing our analyses (high vs. low, art vs.
entertainment, center vs. margin)—then surely we would have known of it before
now. A claim as bold as this is almost certain not to prove out.
But when it does . . . well, it’s a beautiful thing; and for that reason, this is a beautiful
book. In it, Abravanel unravels, with extraordinary patience and clarity, the absolutely
articulate (if largely unconscious) history of twentieth-century British culture’s simul-
taneous invention and demonization of “the American Age.” The “Americanizing”
trope from her title is not her coinage, it turns out, but instead floated through British
cultural discourse in the early decades of the twentieth century to identify a force
akin to what Matthew Arnold had, a half-century earlier, dubbed “Philistinism.”
“Early twentieth-century British writers, scholars, and commentators,” Abravanel
explains, “had a name for what was happening to England and the world: they called
it ‘Americanisation.’ ” Arnold had spotted it “on the French coast,” whereas Kipling
and Wells and Woolf and Leavis saw it instead across the Atlantic: but both genera-
tions understood themselves as standing on “a darkling plain / Swept with confused
alarms of struggle and flight, / Where ignorant armies clash by night.”

vii
viii SERIES EDITORS’ FOREWORD

As Abravanel unfolds her tale, Britain’s fear of Americanization is seemingly

everywhere. It’s bound up intimately, if secretly, with its fears of loss of empire,
with “a collapse from Britishness to Englishness, a shift from imperial confidence
to pride in local customs and national traditions.” And as Britain lost her grip on
her empire, and was poised to shrink from Great Britain to a modest, nostalgically
reduced state of “merrie England,” so she began reactively to identify imperial-
ism in the form of American popular entertainment—what Abravanel calls the
American Entertainment Empire. Hence the oft-voiced fears that “England was
being colonized internally by American cinema” or—even worse—that Britain’s
own colonies were being recolonized by the American “talkies,” putting, as
Abravanel writes, “England in the role of colony to America’s new media empire.”
In another era, such nefarious influence might have been troped in terms of viral
infection; during the Cold War, it would likely have manifested in fantasies of zom-
bie takeover. Abravanel quotes from a rather fantastic speech given in the House
of Commons in 1927: “We have several million people, mostly women, who, to all
intents and purposes, are temporary American citizens.” He was talking, of course,
about American movies, but not Invasion of the Body Snatchers.
One of the admirable features of Americanizing Britain is the way that Abravanel
draws from both canonical and noncanonical texts and treats a wide range of writ-
ers, including those conventionally considered “minor,” to illustrate her thesis.
H. G. Wells and Rudyard Kipling are both put in the dock, and testify as vividly
as Virginia Woolf, T. S. Eliot, or the editors of Close Up to the pervasive fear of
Americanization. Wells actually championed a version of Americanization—what
he referred to as “The United States of Everywhere”—as an antidote to the retro-
gressive embrace of an ersatz Englishness he saw taking hold. This kind of pro-
posal Abravanel reads under the banner of “Ameritopia,” a distinctive thread in the
texts she explores; somewhat surprisingly, she finds Woolf, in an essay written for
the American Cosmopolitan magazine, one of its breathless exponents. Breathless
but not guileless: “Woolf can write so cunningly about the United States without
ever needing to visit,” Abravanel points out, “because as she well understands, by
the late thirties Ameritopia exists nowhere so potently as in the British imagina-
tion.” In the discourse of Americanization, we learn, what matters is not so much
the “actual” effect of American cultural production on an embattled British way of
life, but instead British perceptions of that impact.
Abravanel’s treatment of the Leavises, especially F. R., is one of the book’s real
treats, as she seeks to understand the response of English criticism to the men-
ace posed by the American Century. What she discovers is that “Leavis’s influen-
tial role in the development of English as a discipline follows from his desire to
 SERIES EDITORS’ FOREWORD ix

design a field of study that would save England from Americanization.” She even
suggests—though it’s left at the level of suggestion—that literary studies in the
United States itself imbibed Leavis’s fear of Americanization, a type of literary
self-loathing that must have taken a toll on the shape and trajectory of U. S. lit-
erary study. Most surprising of all—though we’ll leave you to read the details
yourself—Abravanel shows how the British “anti-Leavis,” Richard Hoggart, foun-
der of the Birmingham School of cultural studies, himself replicates Leavis’s anti-
Americanism.
For us, the book’s most surprising argument, and the one most likely to pro-
voke response, is Abravanel’s reading of Four Quartets as a poem of beginnings
and endings that silently elides . . . well, the United States. This closing chapter
demonstrates most fully the heuristic power of Abravanel’s critical lens; “In Four
Quartets,” she argues, “Eliot resolves the dilemma between modern Britain and
the United States by refusing them both, returning instead to the moment in colo-
nial history when America was part of Great Britain. In so doing, Four Quartets
produces a specifically transatlantic nostalgia that recalls the golden age of British
imperialism through its colonial relationship with America.” It’s a tour de force
reading of a poem that’s been much read—but never quite like this.
When a book articulates a thesis with this kind of analytical power, it seems
almost to generate its own examples and case studies: one puts down the book
still wearing its lenses, and looks at English modernism altogether anew. The most
charming example of this comes in the book’s brief Afterword, and we won’t spoil
that lagniappe further than to say that its deft reading of the novels of J. K. Rowling
absolutely “gets” the Harry Potter phenomenon, while at the same time present-
ing the most convincing argument to date for its curious force. For we Americans
still carry a strong strain of Anglophilia, of course, and that same English cul-
ture, in its twentieth-century variety, is formed around an irritant grain of
anti-Americanism.

Kevin J. H. Dettmar
and
Mark Wollaeger
This page intentionally left blank
 Acknowledgments

A long project such as this one incurs many debts. It started at Duke, under the
guidance of a fantastic committee. Toril Moi gave generously of her tremendous
talent, reading countless drafts with precision and rigor. She has earned my lasting
gratitude. Ian Baucom introduced me to Atlantic Studies and helped me to see how
my work might transform assumptions in that field and others. I learned much from
his ease with complexity. I am extremely grateful to Michael Moses for his encyclo-
pedic knowledge and generous insights as well as to Houston Baker for inspiration.
Thanks are also due to the fabulous Kathy Psomiades and my wonderful peers, espe-
cially the gang-of-three: Lili Hsieh, Amy Carroll, and Julie Chun Kim. Special thanks
to Jené Schoenfeld, who remains a superb interlocutor and treasured friend.
My new home at Franklin & Marshall College introduced me to support-
ive, inspiring colleagues: Patrick Bernard, Katie Ford, Tamara Goeglein, Kabi
Hartman, Emily Huber, Peter Jaros, Padmini Mongia, Nick Montemarano, Judith
Mueller, Patricia O’Hara, Jeff Steinbrink, and Anton Ugolnick. Emily Huber, Kabi
Hartman, and Giovanna Faleschini Lerner in particular went above and beyond to
encourage the book’s final revisions.
Across the academy, collegiality of the best sort has come from Paul Saint-
Amour, Jessica Berman, Jim English, Michael Tratner, Priscilla Wald, Jed Esty,
Brian Richardson, Peter Mallios, Jean-Michel Rabaté, Amardeep Singh, Rebecca
Wanzo, Sonita Sarker, Mary Lou Emery, Judith Brown, Melba Cuddy-Keane, and
Douglas Taylor. I also want to thank Gail Potter and Jennifer Davis for their friend-
ship throughout these many years of writing.
This work greatly benefited from the support of the American Academy of
University Women, the NEH Summer Stipend Program, the Penn Humanities

xi
xii ACKNOWLEDGMENTS

Forum, and the Franklin & Marshall College Faculty Research Fund. Thanks
as well to Rita Barnard and Demi Kurz who, under the auspices of the Gender,
Sexuality, and Women’s Studies Program at Penn, offered me space to write at
a crucial moment in the project’s development. In addition, I feel fortunate to
have had the opportunity to discuss some of the book’s central ideas at Modernist
Studies Association conferences over the years; those conversations have been
integral to what follows.
At F&M, Andrew Yager was an outstanding, meticulous research assistant and
research librarian Scott Vine came through in a pinch. I would also like to thank
the librarians at the British Film Institute and the British Library for their assis-
tance. A portion of chapter 3 first appeared in Modernist Cultures 5 (2010) and an
earlier, partial version of chapter 4 in Modernism/Modernity 15, no. 4 (2008). I
thank the editors of these journals for permission to reprint.
Mark Wollaeger and Kevin Dettmar are superlative series editors; it has been
a true pleasure to work with them both. Thanks, Mark, for talking shop with
me whenever I needed it. Shannon McLachlan and Brendan O’Neill at Oxford
University Press are at once rigorous and humane. I couldn’t have asked for bet-
ter. I would also like to thank the anonymous readers whose detailed remarks
informed and improved the finished book.
Last but never least: my family. I am grateful to Fred and Nancy Abt for their
love and belief in me, always delivered with humor and grace. Bessie Abravanel at
104 years of age continues to inspire me. I would like to thank my father, Eugene
Abravanel, for modeling academic rigor and for bringing a capacious curiosity to
every topic of conversation. To my mother, Wendy Abt, who has been there for
me throughout the writing of this book and beyond: there are no words to express
how grateful I am. It is a blessing to be your daughter. To my husband, Johnny, let
me here mark the enduring delight I feel at having you in my life. You are the best
decision I ever made. And to Joshua, you arrived at the very end of this project, to
make everything sweet.
Americanizing Britain
This page intentionally left blank
 Introduction

Take up the White Man’s burden!

Have done with childish days

—Rudyard Kipling, “The White Man’s Burden,” 18991

The old Edwardian brigade do make their brief little world look pretty tempting. All home-
made cakes and croquet . . . Always the same picture: high summer, the long days in the sun,
slim volumes of verse, crisp linen, the smell of starch. If you’ve no world of your own, it’s
rather pleasing to regret the passing of someone else’s. But I must say it’s pretty dreary living
in the American Age—unless you’re an American, of course. Perhaps all our children will be
American. That’s a thought, isn’t it?

—John Osborne, Look Back in Anger, 19562

In John Osborne’s landmark 1956 play, Look Back in Anger, the shopkeeper, Jimmy
Porter, is struck by a disquieting thought. England, he reflects, is now living in the
“American Age”—so much so that the next generation of English children may
simply turn out to be Americans.3 Yet only a few decades earlier, at the beginning
of the century, many in Britain believed their nation to be the dominant world
power, the empire on which the sun never set, and a highly developed society
in contrast to which, in Rudyard Kipling’s phrase, the United States appeared
“childish.” It is worth asking how, in roughly half a century, Britain managed the
transition from Kipling’s imperial confidence to Osborne’s grim defeatism. How
did the storyline shift from Britain’s worldly predominance to its minor role in a
global American Age? Who told the stories that made up the shift, and how were

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Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.

More than just a book-buying platform, we strive to be a bridge

connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.

Join us on a journey of knowledge exploration, passion nurturing, and

personal growth every day!

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