This timely collection explores British attitudes to continental Europe that explain the Brexit decision. Analysing British discourses of Europe and the impact of British Euroscepticism, the book argues that Britain’s exit from the European Union reflects a more general cultural rejection of continental Europe: Britain is in denial about the strength of its ties to Europe and needs to face Europe if it is to face the future. The volume brings together literary and cultural studies, history, and political science in an integrated analysis of views and practices that shape cultural memory and the cultural imaginary. Part I, ‘Britain and Europe: political entanglements’, traces the historical and political relationship between Britain and Europe and the place of Europe in recent British political debates while Part II, ‘British discourses of Europe in literature and film’, is devoted to representative case studies of films as well as popular Eurosceptic and historical fiction. Part III, ‘Negotiating borders in British travel writing and memoir’, engages with border mindedness and the English Channel as a contact zone, also including a Gibraltarian point of view. Given the crucial importance of literature in British discourses of national identity, the book calls for, and embarks on, a Euro-British literary studies that highlights the nature and depth of the British-European entanglement.
heritage through exorbitant study fees. Possibly, ‘BrexLit’ projects such as Ali Smith’s writing to the moment in her Seasonal Quartet ( Autumn , 2016; Winter , 2017; Spring , 2019) or the Poet Laureate Carol Ann Duffy’s communal drama My Country: A Work in Progress (2017) seek to recapture literature’s role as a space for constitutional debate. 2 This reading would seem to be endorsed by the fact that each of Smith’s novels abounds with literary echoes and is linked to a Shakespeare play. In Spring , in line with its refugee theme, this is Pericles , a play that