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This paper gives a sustained examination for the first time of The Last September as a hybrid novel synthesising an Anglo-Irish Gothic tradition with modernism. It is a benchmark gothic text for the twentieth century because of Bowen’s experimental treatment of two themes – revolutionary class politics and female sexuality – that have been central to gothic since its full emergence in the eighteenth century as a “writing of excess” that “shadows the despairing ecstasies of Romantic idealism and individualism and the uncanny dualities of Victorian realism and decadence”, as Fred Botting writes. By locating The Last September within gothic and modernist studies, this essay enhances and redresses gaps in new critical perspectives on Bowen.

Exorcising Trauma: Uncanny Modernity and the Anglo-Irish War in Elizabeth Bowen’s The Last September (1929)