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Adam Parkes

Blurred image of the arch used as background for stylistic purposes.
Professor
President, D.H. Lawrence Society of North America
First Vice President, South Atlantic Modern Language Association (SAMLA)

Adam Parkes specializes in British, Irish, and American literature from the late nineteenth century to the twenty-first.  His current book project, Modernism and the Aristocracy: Monsters of English Privilege (under contract with Oxford UP), explores literary responses to the decline and fall of the aristocracy in the modern democratic age.  His previous scholarly monographs are A Sense of Shock: The Impact of Impressionism on Modern British and Irish Writing (Oxford UP, 2011) and Modernism and the Theater of Censorship (Oxford UP, 1996).  Other publications include Kazuo Ishiguro's The Remains of the Day: A Reader's Guide (Continuum, 2001) and articles on two other Ishiguro novels: Never Let Me Go (Modern Fiction Studies, 2021) and Klara and the Sun (Foreign Literature Studies [China], forthcoming).  Articles on monotony in D.H. Lawrence and impressionism in Erskine Childers are in the works.      

Parkes's teaching interests include 20th-Century British Novel, 21st-Century British Fiction, James Joyce, and Spy Fiction.  

Parkes serves on the editorial advisory board of the journals Modern Fiction Studies and D.H. Lawrence Review.  He is President of the D.H. Lawrence Society of North America for 2021-22 and First Vice President of the South Atlantic Modern Language Association (SAMLA). 

Education:

Ph.D. in English, University of Rochester, 1988-1993

B.A. in English, Gonville & Caius College, Cambridge, 1985-1988

Wolverhampton Grammar School, 1977-1984

Selected Publications:

Books

Modernism and the Aristocracy: Monsters of English Privilege (under contract with Oxford University Press).

A Sense of Shock: The Impact of Impressionism on Modern British and Irish Writing (Oxford University Press, 2011).

Kazuo Ishiguro's The Remains of the Day: A Reader's Guide (Continuum, 2001). 

Modernism and the Theater of Censorship (Oxford University Press, 1996).  Listed by Choice as an Outstanding Academic Book.

Recent and forthcoming articles

Nothing New Under the Sun: Planned Obsolescence in Ishiguro’s Klara.”  Foreign Literature Studies (2021, forthcoming)

"The 'Ache' of Nostalgia in Women in Love."  D.H. Lawrence Review, vol. 44, no. 2 (Nov. 2021, forthcoming)

“Stupidity, Intellect, and Hierarchy in Lawrence and Huxley.”  Twentieth-Century Literature, vol. 68, no. 4 (Dec. 2021, forthcoming)

“Logics of Disintegration in Lawrence and Huxley.”  Etudes Lawrenciennes, no. 52 (2021).   https://journals.openedition.org/lawrence/2471

“Ishiguro's ‘<Strange> Rubbish’: Style and Sympathy in Never Let Me Go.”  Modern Fiction Studies, vol. 67, no. 1 (Spring 2021), pp. 171-204

“‘A more emotional, a more keenly analytical picture’: Impressionism, Naturalism, and Sociology in Ford Madox Ford," in The Socio-Literary Imaginary in Nineteenth and Twentieth-Century Britain: Victorian and Edwardian Inflections, edited by Maria K. Bachman and Albert D. Pionke (New York: Routledge, 2020), pp. 198-218

"Expatriation, Snobbery, and Uncommon Commonness in Aaron’s Rod and Kangaroo."  D.H. Lawrence Studies (South Korea), vol. 26, no. 2, special international issue edited by Michael Bell, Virginia Hyde, and Nak-Chung Paik (December 2018), pp. 22-49

“Elizabeth Bowen’s Mélisande.”  Texas Studies in Literature and Language, vol. 59, no. 4 (Winter 2017), pp. 457-476

“'A Small Caste of Experts': Aristocracy, Intelligence, and Stupidity in Huxley’s Interwar Fiction."  Aldous Huxley Annual, vol. 16 (2016), pp. 173-190

“Naturalism, Realism, and Impressionism.”  In Late Victorian into Modern, 1880-1920, edited by Laura Marcus, Kristin Shepherd-Barr, and Michèle Mendelssohn (Oxford: Oxford University Press, 2016 [harcover], 2020 [paperback]), pp. 187-203

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