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The recent scholarly focus on Elizabeth Bowen`s modernism tends to reinforce a false dichotomy between Bowen as an Ascendancy Big House novelist and Bowen as a literary modernist. In keeping with Jameson`s argument that the colonial experience is at the root of Western modernism, I propose that her representations of Anglo-Irish Big House culture, in The Last September in particular, are in fact focal points for understanding Bowen as a modernist, and I argue that the Gothic, with its unavoidable political and colonial resonances, is fundamental to Bowen`s Irish modernism.

Elizabeth Bowen, Modernism, and the Spectre of Anglo-Ireland