When William Came by Saki (H. H. Munro) is a unique novel in the genre of invasion literature. Starting after a fictional war between Britain and Germany, it depicts no scenes of invasion. Recently, there have been studies from the perspective of how Munro and other authors in the genre viewed Germany and Britain. Some studies also refer to Munro’s deliberate lack of depiction of the war. However, it seems that no studies have looked into the reasons why the war is not depicted. This paper argues that the story is not about showing British military unpreparedness but about how psychological weapons work. It could even be said that depictions of war would distract from the focus on propaganda and its effect on people. Considering this work as being about a British and German propaganda war opens up a new perspective that is different from previous studies. When William Came is a work that points out Britain’s unpreparedness for psychological war by imagining and detailing possible propaganda strategies. It has been said that the novel’s ending is unsatisfactory, as it only ends up showing the potential for youth resistance. However, if it is understood that this novel, from beginning to end, is about a propaganda battle, a war that is fought under the surface, then the final chapter can also be understood as a thrilling one.
Wilde’s only novel, The Picture of Dorian Gray, is widely said to have been rejected by W. H. Smith, but there is no doubt that this did not happen. The letter sent to Wilde by the publisher strongly indicates that W. H. Smith contemplated removing the July issue of Lippincott’s Magazine, but does not go so far as to say that the bookstore did. This letter is the only evidence, however, that this is not absolute. The refusal to sell is mere speculation. The fact that none of Wilde’s contemporaries mentioned the incident of The Picture of Dorian Gray that supposedly happened, while the boycott of George Moore’s Esther Waters, which was much less topical than this one, was widely reported and discussed, provides further evidence that Wilde’s work was not rejected. Given that the censorship of literary works by private enterprises was still topical in the 1890s, it is unbelievable that the rejection of Wilde’s novel would not have been covered by any newspaper. It makes no sense, except to think that such a thing did not exist at all. It is also clear that this was not the case in the 1895 Wilde trial. Wilde’s lawyer argued that the piece was not a social evil because it was sold uninterruptedly, and the other side, which would have liked to take advantage of it in any way, never once touched on the boycott. Therefore, it would be safe to say that W. H. Smith’s refusal to sell did not happen at all.
When William Came (1913) is Hector Hugh Munro’s (Saki) novel that describes the German invasion of Britain and its aftermath. It has been regarded as a propaganda novel since its publication, calling for conscription and the like; however, its psychological portrayal of Londoners under German rule is worth reading. Though there are studies on the literary and cultural aspects of this work, none have examined how realistic his depiction would be if Britain had lost the war. However, the premise of this work—how to live in a situation where a traditionally powerful nation is defeated and, because it is an island nation, it is impossible to reverse its defeat—can be historically examined. This study examines the accuracy of Munro’s imaginings by comparing his imagined post-war British people with real post-World War II Japanese people. Although it can be argued that Munro was optimistic about the existence of the colonies, the results show numerous similarities between the changes in the two populations, before and after the war, and in their feelings towards the victorious nation. Munro’s insights into people were surprisingly profound.
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