Strange associations: Elizabeth Bowen and the language of exclusion

Since The Last September was first published in 1929, the novel's style has been a major source of controversy amongst Elizabeth Bowen's critics, many of whom align the work with reactionary feeling among the Anglo-Irish community in early 1920s Ireland. This longstanding view ignores, I think, a complex but critically overlooked aspect not only of The Last September but also of Bowen's many opinions about the novel form: the author's fascination with the language of exclusion. In this essay I argue that Bowen's use of literary devices in The Last September that rely on exclusion - including ellipses, euphemism, rumour, overheard conversation, narrative digression, and lying - dramatise the ways in which war disorients figurative language and, in so doing, subverts and transforms the apparently stable metaphors through which the Anglo-Irish sought to reconcile events occurring in September 1920, that fitful last September of the Republic's colonial ties to England, with their historical role as settler-colonialists in Ireland. Further, Bowen's experimental style disorients the reader, thereby undermining any confidence in the legitimacy of Ascendancy protocol, or the morality of British colonialism, or the militant expression of Irish nationalism, and leads instead to an emergent, though ultimately unfulfilled, cosmopolitan vision of late modernist Ireland.