Adam Parkes specializes in British, Irish, and American literature from the late nineteenth century to the twenty-first. He regularly teaches graduate and undergraduate courses in the 20th-Century British novel, 21st-Century British fiction, and James Joyce; a recent addition to his undergraduate offerings is a course in spy fiction.
Parkes is currently finishing one book and starting another. Modernism and the Aristocracy: Monsters of English Privilege (to be published by Oxford University Press in 2023) examines literary responses to the aristocracy in the modern democratic age. Considering such authors as D.H. Lawrence, Elizabeth Bowen, Ford Madox Ford, Evelyn Waugh, and Edith Wharton, Monsters analyses the attitudes and affects that writers attributed to the British aristocracy between the world wars, and explores the formal and stylistic possibilities to which this subject-matter gave rise. Parkes's new project, "Styles of Obsolescence in Kazuo Ishiguro," is an archive-based study of selected novels by the Japanese-born Nobel Prize winner.
Parkes's previous book-length scholarly monographs are A Sense of Shock: The Impact of Impressionism on Modern British and Irish Writing (Oxford, 2011) and Modernism and the Theater of Censorship (Oxford, 1996). Other publications include Kazuo Ishiguro's The Remains of the Day: A Reader's Guide (Continuum, 2001) and recent articles on two other Ishiguro novels: Never Let Me Go (Modern Fiction Studies, 2021) and Klara and the Sun (Foreign Literature Studies [China], 2022).
Parkes serves on the editorial advisory boards of Modern Fiction Studies, Victorians Institute Journal, and the D.H. Lawrence Review. He is President of the D.H. Lawrence Society of North America for 2021-22 and of the South Atlantic Modern Language Association (SAMLA) for 2022-23.
Ph.D. in English, University of Rochester, 1988-1993
B.A. in English, Gonville & Caius College, Cambridge, 1985-1988
Wolverhampton Grammar School, 1977-1984
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 essays and articles
“Nothing New Under the Sun: Planned Obsolescence in Ishiguro’s Klara.” Foreign Literature Studies (China), vol. 44, no. 1 (Feb. 2022), pp. 13-27. http://fls.ccnu.edu.cn/EN/Y2022/V44/I1/13
“Ishiguro's ‘<Strange> Rubbish’: Style and Sympathy in Never Let Me Go.” Modern Fiction Studies, vol. 67, no. 1 (2021), pp. 171-204. https://muse.jhu.edu/article/786763/pdf
“Stupidity, Intellect, and Hierarchy in Lawrence and Huxley.” Twentieth-Century Literature, vol. 68, no. 4 (2021), pp. 455-82. https://muse-jhu-edu.us1.proxy.openathens.net/article/843599/pdf
“Logics of Disintegration in Lawrence and Huxley.” Etudes Lawrenciennes, no. 52 (2021). https://journals.openedition.org/lawrence/2471
“‘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
"The Ache of Nostalgia in Women in Love." D.H. Lawrence Review, vol. 44, no. 2 (2019), pp. 33-49. https://www.dhlawrencereview.org/about
"Expatriation, Snobbery, and Uncommon Commonness in Aaron’s Rod and Kangaroo." D.H. Lawrence Studies (South Korea), vol. 26, no. 2 (2018), pp. 22-49
“Elizabeth Bowen’s Mélisande.” Texas Studies in Literature and Language, vol. 59, no. 4 (2017), pp. 457-76. https://www.jstor.org/stable/pdf/44866249.pdf?refreqid=excelsior%3A289fe3b734763725c361d8c09dfda236
“'A Small Caste of Experts': Aristocracy, Intelligence, and Stupidity in Huxley’s Interwar Fiction." Aldous Huxley Annual, vol. 16 (2016), pp. 173-90
“Naturalism, Realism, and Impressionism.” In Late Victorian into Modern, 1880-1920, edited by Laura Marcus, Kristin Shepherd-Barr, and Michele Mendelssohn (Oxford: Oxford University Press, 2016 [hardcover], 2020 [paperback]), pp. 187-203