... 1989). Kirkland’s assertion that ‘written expressions of cultural132 The Cambridge Introduction to Modern British Fiction, 1950–2000identity’ have tended ‘to favour poetry or drama’ seems to confirm ... developing sense of Cal’s guilt at his involvement in the murder of134 The Cambridge Introduction to Modern British Fiction, 1950–2000Marcella’s husband; and second, it juxtaposes two different responses ... schools, the better to imply the kind of historical continuum108 The Cambridge Introduction to Modern British Fiction, 1950–2000that Fullbrook claims for her. Significantly, Edith’s reflections...