Love in A.S. Byatts Possession, Zadie Smiths White Teeth, and the Ful

Love in A.S. Byatts Possession, Zadie metalworkers White Teeth, and the well(p) Monty by Peter CuttaneoAs British literature and film seek to way out the identity crisis that England dominates herself in as a post-imperial nation, a admixture of views have emerged concerning solutions for Britains confusion. One reoccurring theme to these views is applaud. A.S. Byatts Possession, Zadie Smiths White Teeth, and The Full Monty, directed by Peter Cattaneo, all conceive with a traditional, romantic view of true love, whether it is dumbfounded as a unavoidableness or a dispensable ideal. While Possession and The Full Monty hand over romantic love as an essential part of what will beat back Britain towards rejuvenation, White Teeth presents romance as something that can be confiscate in light of the fact that mere survival is the ultimate goal. In Possession, Byatt juxtaposes many different types of bloods in order to set up an translucent comparison between what bri ngs renewal and what does not. Roland Michell, a twentieth century learner studying the puddles of nineteenth century poet R.H. Ash, is initially in a boring relationship with Val, an embittered ex-scholar, whom he has admittedly settled for. He does not love her, and, as a result, his life with her is bland. Roland later becomes colleagues with feminist Maude Bailey, whose work with another nineteenth century poet, Christabel LaMotte, coincides with his research on Ash. As they display Ash and LaMottes secret love affair, Byatt is able to display an kindle yet sorrowful love. Despite its sad ending, LaMotte and Ashs relationship brings freshness into their otherwise monotonous lives. As the novel progresses, Maude and Roland come to deference and, ultimately, love each o... ...r future but rather settle with her present in order to survive. While Byatts Possession and Cattaneos The Full Monty are concerned with a Britain that pushes herself towards greatness through love and acceptance, Smith is more concerned with Britain just moving forward. Yet all terzetto of these works have interesting viewpoints on the importance of true, romantic love in post-imperial Britain. perchance Britain can be rejuvenated through love, as Byatt suggests. Perhaps only love can bring new life to her bored, dim citizens, as Cattaneo puts forth. Or, as Smith proposes, perhaps Britain just needs to throw in all this focusing on the ideal and trying to redefine herself through these fairytale, unrealistic notions. No matter which stance the British work takes, it is all important(p) to note the question that they each pose could love really find a way?