Dr Andrew Radford
- Senior Lecturer (English Literature)
telephone:
01413302133
email:
Andrew.Radford@glasgow.ac.uk
R314 Level 3, English Literature, 5 University Gardens, Glasgow G12 8QH
Research interests
Research interests
- European Modernism
- Leonora Carrington and British Surrealism
- Poetry and Politics of the 1930s
- Post-1945 British fiction: Elizabeth Bowen, Muriel Spark, Elizabeth Taylor, Barbara Pym, Ivy Compton-Burnett, Barbara Comyns, Elspeth Davie, Beryl Bainbridge.
- Paul Nash and British Art 1900-1940
- Book History and Textual Editing
- George Borrow and Travel Literature
- Contemporary Literature
Biography
Andrew teaches across a range of Junior and Senior Honours courses in post-1900 literature. He also contributes to the MLitt program in Modernities. He is currently researching postwar British authors such as Elizabeth Taylor, Ann Quin and Anna Kavan and their decisive, though critically undervalued, contribution to the midcentury British novel. He has also published essays, narrative bibliographies, book chapters, and reviews on Katherine Mansfield, Mina Loy, Joseph Conrad, Arthur Machen, Sylvia Townsend Warner and J C Powys.
Andrew has a longstanding research interest in the fiction of Barbara Comyns (1907-1992), whose work has often been misread through labels such as 'magic realist', 'cult writer', or 'fabulist'. Comyns's first novel, Sisters by a River, appeared in 1947; her final novel, The House of Dolls, was published in 1989. Across these four decades, the critical categories available for studying her work changed considerably, from postwar realism and absurdism to feminism and the fantastic. Yet Comyns never settles comfortably within any of them. Her cultural importance lies in the way her fiction frequently tests, and subverts, the categories through which postwar British literature has been discussed.
Andrew's current project, for Edinburgh University Press's Midcentury Modern Writers series, relocates Comyns within the history of postwar British literature by arguing that the distinctive power of her fiction lies not in escapist fantasy but in its weird fidelity to the commonplace, the shopsoiled, and the sub/urban. Rather than breaking with the everyday, Comyns intensifies it. She exposes the fragility of mundane routines and relationships through her attention to childhood experience, poverty, animals and the material textures of domestic life. Although she admired surrealist artists, whose work often privileges dream logic and symbolic transformation, Comyns remains insistently grounded in the palpable, often grisly residues of daily habits and duties. The uncanny in her fiction therefore emerges not through a rejection of social realism but through its escalation: cheerless bedsits and overgrown gardens become strange because they are rendered with such precision and described with such disarming indifference.
The monograph also contends that Comyns's literary legacy is best grasped not simply as a line of direct influence but as a constellation of formal affinities or echoes across later British and North American fiction. Writers such as Shirley Jackson, Angela Carter, Elspeth Davie, Rachel Ingalls and Helen Oyeyemi illuminate different aspects of the possibilities Comyns's novels make available: her obsession with the uncanny, her refusal of explanatory frameworks, and her willingness to let the paranormal sit quietly inside the everyday. Viewed in this wider context, Comyns emerges not as an eccentric outlier but as a precursor to forms of postwar and contemporary fiction that have since acquired much greater critical visibility.
Topics of completed and current doctoral research projects co/supervised include: eco-criticism, animal studies, and the imperial romance (John Miller); Hope Mirrlees, Jane Harrison and feminist classicism (Nina Enemark); post-1970s eco-cinema and literary adaptation (Djouher Benyoucef); Gothic fiction (Hilary Grimes); British writings on China 1890-1950 (Jacqueline Young and Kun Xi); the role of the adolescent in the fiction by Rosamond Lehmann, Graham Greene and Elizabeth Bowen (Kathryn Johnson); Textile Orientalisms (Suchitra Choudhury); African women writers and gender politics (Sadia Zulfiqar); mapping the 'dark continent' (Robert McLaughlan); writing war (Stuart Hepburn); twentieth-century American fiction and the pastoral mode (Margarida Sao Bento Cadima); the nineteenth-century novel and critical theory (Martina Saric); Early Victorian crime and street literature (Aiman Alshammari). Recent supervision in contemporary literature includes two AHRC-funded students in creative writing.
Research groups
Grants
AHRC Research Network 2016-
Popular Occulture in Britain 1875-1947
This project investigates the influence of occult beliefs, themes, and figures on British popular culture between 1875-1947.
The enterprise is led by Professor Christine Ferguson (University of Stirling) and Dr Andrew Radford (University of Glasgow)
https://www.stir.ac.uk/popular-occulture-in-britain
The accompanying essay collection The Occult Imagination in Britain, 1875-1947, eds. Ferguson and Radford, was published by Routledge in hardback and ebook formats in 2018:
Between 1875 and 1947, a period bookended, respectively, by the founding of the Theosophical Society and the death of notorious occultist celebrity Aleister Crowley, Britain experienced an unparalleled efflorescence of engagement with unusual occult schema and supernatural phenomena such as astral travel, ritual magic, and reincarnationism. Reflecting the signal array of responses by authors, artists, actors, impresarios and popular entertainers to questions of esoteric spirituality and belief, this interdisciplinary collection demonstrates the enormous interest in the occult during a time typically associated with the rise of secularization and scientific innovation. The contributors describe how the occult realm functions as a turbulent conceptual and affective space, shifting between poles of faith and doubt, the sacrosanct and the profane, the endemic and the exotic, the forensic and the fetishistic. Here, occultism emerges as a practice and epistemology that decisively shapes the literary enterprises of writers such as Dion Fortune and Arthur Machen, artists such as Pamela Colman Smith, and revivalists such as Rolf Gardiner.
Supervision
Doctoral Students Past Projects.
PhD Supervision. Degrees awarded:
Hilary Grimes, DPhil in English Literature, University of Glasgow (2006). (75 percent supervision)
Title of thesis: 'Late Victorian Gothic: Mental Science, the Uncanny and Scenes of Writing'.
Timothy Jarvis (AHRC funded), DPhil in Creative Writing, University of Glasgow (2009). (50 percent supervision)
Title of thesis: ‘The Wanderer: Peregrinations in Eldritch Regions’.
John Miller (AHRC funded), DPhil in English Literature, University of Glasgow (2009). (75 percent supervision)
Title of thesis: ‘Colonial Discourse and Natural Environments in British Fiction of Empire, 1850-1940’.
Kathryn Johnson (AHRC funded), DPhil in English Literature, University of Glasgow (2010). (75 percent supervision)
Title of thesis: ‘A Dangerous Age: Adolescent Agencies in Interwar British Literature’.
Robert McLaughlan (AHRC funded), DPhil in English Literature, University of Glasgow (2010). (50 percent supervision)
Title of thesis: ‘Imagined Blackgrounds: The Literary Legacy of Mapping the Dark Continent’.
Jacqueline Young, DPhil in English Literature, University of Glasgow (2011). (75 percent supervision)
Title of thesis: ‘Western Residents of China and their Fictional Writings, 1890–1914’.
Choudhury, Suchitra, DPhil in English Literature, University of Glasgow (2013). (50 percent supervision)
Title of thesis: ‘Textile Orientalisms: Cashmere and Paisley Shawls in British literature’.
Sadia Zulfiqar Chaudhry, DPhil in English Literature, University of Glasgow (2014). (75 percent supervision)
Title of thesis: ‘African women writers and the politics of gender’.
Nina Enemark, DPhil in English Literature, University of Glasgow (2015) (75 percent supervision)
Title of thesis: ‘Re-crossing the Ritual Bridge: Jane Ellen Harrison’s Theory of Art in the Work of Hope Mirrlees’.
Stuart Hepburn, DPhil in English Literature, University of Glasgow (2015) (50 percent supervision)
Title of thesis: ’17 Letters to My Brother: A Scottish Soldier Writes Home – Novella, Screenplay and Reflective Essay’
Alexandra Laura Foulds, DPhil in English Literature, University of Glasgow (2017) (75 percent supervision)
Title of thesis: ‘Gothic monster fiction and the “novel-reading disease”, 1860-1900’.
Kun Xi, DPhil in English Literature, University of Glasgow (2020) (75 percent supervision)
Title of thesis: ‘Mapping Out a “Folded City”: British Resident-travellers’ Writing on Peking, 1911–1939’
Margarida Sao Bento Cadima, DPhil in English Literature, University of Glasgow (2021) (75 percent supervision)
Title of thesis: ‘Pastoral cosmopolitanism in Edith Wharton’s fiction: the world is a welter’.
Alexandra, Abletshauser, DPhil in English Literature, University of Glasgow (2023) (25 percent supervision)
Title of thesis: ‘The Hearth of Reform. Discourses of Love and Strategies of Sympathy in Canadian Women’s Writing, 1890-1914’.
Carole Murphy, MPhil in English Literature, University of Glasgow (2023) (50 percent supervision)
Title of thesis: ‘Walter de la Mare’s Gothic Strategies’.
Martina Saric, DPhil in English Literature, University of Glasgow (2025) (50 percent supervision)
Title of thesis: ‘Bodies of Text and Language of the Senses’.
Aiman Alshammari, DPhil in English Literature, University of Glasgow (2025) (50 percent supervision)
Title of thesis: 'Representing Intimate Partner Murder in Nineteenth-Century British Street Literature'.
Teaching
Narrative and Narratology (Level 1)
Writing and Ecology (Level 2)
Writing and the Body (Level 2)
Modernism (Level 3 & 4)
Contemporary British Literature (Level 3 & 4)
Twentieth-Century American Literature (Level 3 & 4)
MLitt Modernities (Postgraduate Taught Degree)
Additional information
Andrew has just published Country House Fiction from Elizabeth Bowen to Ivy Compton-Burnett (2026) for Liverpool University Press. This book argues that the country house is one of the crucial sites in anglophone fiction published just after World War II. Each of the chapters converges on a different author – Bowen, Elizabeth Taylor, Compton-Burnett and Barbara Comyns – to explore how their novels represent building as material and metaphor.
