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Jerome de Groot

This article considers the childrens writer Alison Uttley, and, particularly, her engagements with debates regarding science and philosophy. Uttley is a well-known childrens author, most famous for writing the Little Grey Rabbit series (1929–75), but very little critical attention has been paid to her. She is also an important alumna of the University of Manchester, the second woman to graduate in Physics (1907). In particular, the article looks at her novel A Traveller in Time through the lens of her thinking on time, ethics, history and science. The article draws on manuscripts in the collection of the John Rylands Library to argue that Uttley‘s version of history and time-travel was deeply indebted to her scientific education and her friendship with the Australian philosopher Samuel Alexander.

Bulletin of the John Rylands Library
The Child in Time
Dominic Head

contemporary physics and the ways in which narrative fiction can productively cheat a strict chronology. He goes to some lengths, in fact, to make a timeslip faintly plausible. At the beginning of the novel Stephen Lewis, a successful children’s writer, is on his way to a weekly meeting in Whitehall. He is a member of a sub-committee on reading and writing that will make recommendations to an ‘Official Commission on Childcare’, informing the ‘Authorized Childcare Handbook’ the Commission is tasked to produce. The committee meeting does not hold his attention, and the

in Ian McEwan
Abstract only
The supernatural and the textual
Janet Hadley Williams

), completed by 1568, and the Maitland Folio Manuscript (MF), by 1586. 17 Written in ‘time of Papistrie and blindenesse’, 18 or, in less emotive terms, during the reigns of James IV (1489–1513) and James V (1513–42), the fantasies have become linked by their context to the last years of Mary’s reign and most of James VI’s Scottish reign (1567–1603). Like most extant remnants of late medieval Scottish poetry, the elrich poems have suffered textual degradation. For them, however, the difficulties created by what might be called time-slip – the survival in late manuscript

in The supernatural in early modern Scotland
Directions and redirections
Jonathan Bignell and Stephen Lacey

1972–76), Triangle (BBC 1981–83)), and might perhaps be understood alongside contemporary workplace docusoaps such as Airport (BBC 1996–99) or The Cruise (BBC 1998). The historical study of children’s drama such as Changes (BBC 1975), The Tomorrow People (Thames 1973–79), Catweazle (LWI 1970–71) and Timeslip (ATV 1970–71) hardly exists at present, although these programmes are fondly remembered and are occasionally the subject of nostalgic features in television theme-nights or on websites. As the field of television history becomes further established

in Popular television drama
Abstract only
Dominic Head

‘experimentation in its broadest and most viable sense should have less to do with formal factors like busting up your syntax and scrambling your page order, and more to do with content – the representation of states of mind and the society that forms them.’51 Although this view was published in 1978, it has a lasting relevance to McEwan’s position as a writer: despite some extravagant formal experiments (the timeslip in The Child in Time, for example, or the entire conception of Atonement ), he remains focused on states of mind, and the shaping force of the social, and so

in Ian McEwan
Clive Barker and the spectre of realism
Daragh Downes

excess, the shapeshifting fantasy set pieces, but the deeply unfashionable commitment to a neo-Blakean Christianism. Sacrament stands magnificently as what theologians used to call a sign of contradiction. The other Barker work that will, I suspect, endure is the children's novel The Thief of Always (1992). An engaging time-slip fantasy in the Tom's Midnight

in Clive Barker
Dominic Head

-called magical realists’, writers of 188 Ian McEwan ‘irksome confections’ in his view. McEwan is having some fun with his character, and his readers, here: Perowne has read, it seems, Rushdie, Carter and Grass, among others, and also a novel in which ‘one visionary saw through a pub window his parents as they had been some weeks after his conception, discussing the possibility of aborting him’ (S, p. 67). The novel in question, of course, is The Child in Time, which stands as the odd-one-out in this roll-call of magic realism. The timeslip in that novel (to which Perowne

in Ian McEwan
The trouble with gentrification
Lisa Mullen

precipitated her literal and figurative fall, Louie is smoothly assimilated into the culture of retail desire by the social norms she has absorbed from the popular newspapers she avidly reads. For Marghanita Laski, however, the post-war commodity had as much uncanny potential as the lost objects of the Blitz: her eerie time-slip novella The Victorian Chaise-Longue (1953) demonstrates how the self-defining act of making a purchase can also bring to light the clashing temporalities of the human and the inanimate. ‘True purposes’: the thingly agenda of

in Mid-century gothic
The Innocent and Black Dogs
Dominic Head

effect – the timeslip, embedded in the context of the novel – is probably a once-in-a-career invention. There is a retreat from that resonant opening out of the personal in this next phase of writing, and a partial return to the earlier emphasis on the exploitative nature of the individual psyche. As an illustration of how this theme creates a new personal–political dynamic, there is a rape fantasy in The Innocent that introduces an element of political allegory about the domination of weak nations by strong ones;1 and in the novel’s dismemberment scene – a clear

in Ian McEwan
James Chapman

children’s programming as a whole in the 1970s. ITV had historically provided fewer hours of children’s programming than the BBC, and what it did produce was generally regarded as being of lesser quality. In its Annual Report for 1968–69 the Independent Television Authority had noted this concern and had intimated that improvements should be expected during the new franchise period.8 This is one of the reasons why the 1970s became something of a golden age for children’s drama on ITV, including such fondly remembered series as Thames’s Timeslip (1970–71) and The Tomorrow

in Swashbucklers