Recent Scholarship
A forum for reviews of recent publications and important books we may have missed the first time around. It also includes "Race in the Modernism/modernity Archives: The Harlem Renaissance and Beyond."
Review Essay: Paper Processors and Poetry’s Data
In the first flush of text-based, web-published digital humanities projects, modernist literary studies has had a fairly thin representation, excluded largely by an accident of copyright. Literary scholarship from the Victorian period and earlier has relied on open-access text to build digital editions, digitizing, encoding, and circulating texts for scholarly and public audiences.
Twentieth-Century Literature and the Aftermath of War by Rachel Bryan
© 2026 Johns Hopkins University Press Briony Tallis, the irksome thirteen-year-old writer in Ian McEwan’s novel Atonement (2001), ruins the lives of her sister, Cecilia, and, to an even greater degree, Robbie Turner, by telling a lie. Because of Briony’s untruthfulness, Robbie goes to prison, then to France at the start of the Second World War, where he dies of septicaemia on the beach at Dunkirk. During her decades-long writing career, Briony creates several stories about what happened between...
Metrics of Modernity: Art and Development in Postwar Turkey by Sarah-Neel Smith
In 1973, the Municipality of Istanbul and the State Academy of Fine Arts sponsored a competition among Turkish sculptors. Fifty sculptures, each by a different artist, were to be erected in public spaces throughout the city. The purpose was to celebrate the fiftieth anniversary of the Republic of Turkey. Due to practical constraints, the number of winning sculptures was reduced to twenty, which were then commissioned and erected in the specified locations. Of these twenty, only four remain in their original sites today. Three were stolen for the value of their metal. Three more were lost due to road work. Several were removed and lost when their sites were redesigned. Another was declared “meaningless” by a district mayor and jackhammered into oblivion.
Classical Hollywood, American Modernism: A Literary History of the Studio System by Jordan Brower
The first notable aspect of Jordan Brower’s intensely researched book is that it mentions Theodore Adorno only twice, in passing, and Max Horkheimer not at all (poor Max). We get it by now: the culture industry qua oligarchy of the Hollywood studio system qua corporate personhood was propaganda, and scholars need to get on with more detailed work. As I write, the emergent rallying cry of “Stop the Oligarchy” analogizes more to the Gilded Age than to Classical Hollywood. Yet today’s anti-oligarchy sentiment is often directed at Silicon Valley tycoons, who have consumed much of Hollywood itself through streaming services, wrought a new kind of culture industry by commodifying our very attention beyond ideological propaganda, and are now trying to deaccession government itself. Brower’s account of the studio system provides an important analysis of how such oligarchical sausage once got made at the nexus of entertainment, art, and anti-trust law by charting how literary authors, the publishing industry, and classical studios adapted to each other, in every sense, for better or worse.
Duchamp’s Telegram: From Beaux-Arts to Art-in-General by Thierry de Duve
Impish yet magisterial, Thierry de Duve continues a career’s investigation of what he now calls “Duchamp’s telegram.” The occasion of this telegram is the piece Duchamp dubbed Fountain (1917). From the start, de Duve is clear about what Fountain signifies: it “is situated at the juncture of two art worlds, one in which a urinal cannot possibly be art and one in which this urinal is art” (13). In this book, de Duve, among the most provocative of contemporary theorists of visual art, insistently identifies himself as an art historian. The questions the art historian pursues, with all the gathered evidence of
Modernism at the Beach: Queer Ecologies and the Coastal Commons by Hannah Freed-Thall
Beaches occupy an interstitial position between water and land; their contours are rarely fixed but are rather subject to the vicissitudes of time and tide. The liminal quality of the beachscape as a geophysical formation is curiously echoed by its “vexed” and “contradictory” position as a cultural and aesthetic phenomenon (2). For while the beach is the privileged object of the touristic gaze, its longstanding association with otium and leisure, with rest and reprieve, belies its more ambivalent history as a site of colonial and anthropogenic domination. Although the beach has been thoroughly parsed within some traditions of spatial theorizing—notably in essays by French thinkers such as Roland Barthes, Jean-Didier Urbain, and Alain Corbin—it has largely eluded the attention of modernist scholars, due in part to the field’s longstanding affinities with the space of the city. And yet, as Hannah Freed-Thall writes compellingly, the modernist beachscape yields a rich cultural archive and a generative space through which to think questions of emplacement, improvisation, and relationality.
Cybernetic Aesthetics: Modernist Networks of Information and Data by Heather A. Love
What is it like to write within a fold? Heather A. Love’s engaging new study argues that canonical modernist literature bends into a cybernetic future. Following Eve Sedgwick and Adam Frank’s transhistorical notion of the “cybernetic fold,” Love asks us to consider modernism as an art of informatics, data sets, entangled human-machines, and dynamic feedback loops, well before such notions had become self-consciously articulated. Combining both media and information theory, her book expands Bernard Scott’s claim that “cybernetics came into being before it had a nam
Inter-imperiality: Vying Empires, Gendered Labor, and the Literary Arts of Alliance by Laura Doyle
Among the most important books in literary studies in the last decade, Laura Doyle’s Inter-imperiality: Vying Empires, Gendered Labor, and the Literary Arts of Alliance deserves sustained attention. Situated between comparative literary studies, world history, decolonial theory, and gender studies, Inter-imperiality recasts literary history as a counterpoint to the world history of empires. Profoundly interdisciplinary, it makes a forceful case for the relevance of literary analysis to the comparative study of empires—and coloniality.
Europe Knows Nothing about the Orient: A Critical Discourse from the East (1872–1932). Edited by Zeynep Çelik
A century before Edward Said, a robust critique of orientalism proliferated within the so-called Orient. Zeynep Çelik argues this point in an edited collection of journalism, polemic, and scholarship from the late Ottoman Empire and early Turkish Republic. Europe Knows Nothing about the Orient criticizes European knowledge production about Turkey through voices well known—such as Ahmed Midhat, Nâzım Hikmet, Halide Edib, and Tevfik Fikret—as well as those less so, including Şevket Süreyya and Ebüzziya. Translated into English from the original Turkish edition by Gregory Key, Nergis Perçinel, Micah Hughes, İlker Hepkaner, and Aron Aji, these modernist writers do not celebrate the arrival of European modernity so much as critique its transformation of nearly every facet of Turkish life: architecture, tourism, gender, and literature. This light paperback is therefore anything but: it is an essential companion to Orientalism (1978). While Said’s text has generated many memorable critiques, ranging from those of Aijaz Ahmad to Wael Hallaq, Çelik’s intervention gives voice to those who were “orientalized.” If orientalist scholarship constituted epistemic violence, this volume represents a trove of epistemic resistance.
Women Writing Jewish Modernity, 1919–1939 by Allison Schachter
Allison Schachter’s book Women Writing Jewish Modernity gives voice to the challenges Jewish women writers faced when they turned their pen to prose in the first half of the twentieth century. Scholarship has constructed literary genealogies of Jewish prose writing primarily in relation to male writers, ranging from Sholem Aleichem to Yosef Haim Brenner’s figure of the talush (the modern rootless Jew). Women Writing Jewish Modernity, in contrast, recovers the work of five interwar women writers: Fradl Shtok, Dvora Baron, Elisheva Bikhovsky, Leah Goldberg, and Debora Vogel, and reconfigures Jewish literary history
The Persistence of Realism in Modernist Fiction by Paul Stasi
Northrop Frye argued that behind every realist narrative was a displaced mythic structure that could explain the deeper meaning of its themes and patterns. Frye’s archetypal theory was in many ways a modernist one. Had not James Joyce and T. S. Eliot themselves sought to unify the seemingly random data of modern experience by indicating for their readers deep mythic structures undergirding their works? Myth was not held on to so much as a system of belief as for its ability to give a kind of formal unity—even if only latently—to the otherwise centrifugal force of the new and diverse material of modern life. In modernism, myth allied with literary form against the messy, debased business of daily existence in post-traditional society. But what if this is the wrong way to tell the story? This is the question posed by Paul Stasi in The Persistence of Realism in Modernist Fiction, which discovers behind modernism not myth but the displaced form of the realist novel.
A Violent Peace: Media, Truth, and Power at the League of Nations by Carolyn N. Biltoft
The title of this swift, powerfully written monograph on the archives of the League of Nations in Geneva offers a prodigious portrait of its real object of study: the so-called “interwar” period in European culture. Rather than a mere history of the League itself, A Violent Peace reads like a humanistic treatise on the most magmatic chronotope of western late-modernity: the ironically utopian, painfully bureaucratic, Freudianly fascist years that put into question, arguably for good, earlier concepts of reality, opinion, State, and world.
Poetics of Liveliness: Molecules, Fibers, Tissues, Clouds by Ada Smailbegović
Lisa Robertson’s 2001 book The Weather is a classic of the post-pastoral, in which the “architecture” of constantly shifting patterns of clouds and vapors supplants the nostalgia of landscape. A note at the end of the book tells us that it resulted partly from “an intense yet eccentric research in the rhetorical structure of English meteorological description.” BBC shipping forecasts, William Wordsworth’s The Prelude, William Cobbett’s Rural Rides, and the cloud sketches of John Constable were among Robertson’s sources, as was the delightfully titled Essay on the Modification of Clouds by the nineteenth-century amateur meteorologist Luke Howard.
Strange Likeness: Description and the Modernist Novel by Dora Zhang
With its tight focus on figuration in a hypercanonical trio of authors—Henry James, Marcel Proust, Virginia Woolf —Dora Zhang’s Strange Likeness feels almost deliberately unfashionable. Its fine readings, its deft deployment of narrative theory, its rigorous illuminations of the uses of description and metaphor in modernism, all read in many ways like the work of an earlier and more confident moment in the history of literary studies. It is refreshingly free of the cant that can seem everywhere now: the trumped-up claims for ethical urgency, the desperate engagements with novel and often barely relevant theoretical frameworks, and the confused substitution of criticism for politics. At a moment when not just modernist studies but literary studies writ large are facing institutional eclipse, it is thrilling to be reminded that, in the right hands, the old tools can still do so much. (This is not to imply that Zhang insulates herself from contemporary theoretical developments. In particular, she avails herself of some of the newer ways of talking about emotion that have become popular in recent years.) Zhang goes in chronological order—from James to Proust to Woolf—but I’m going to begin at the end, with Woolf. Zhang picks out a feature of Woolf’s writing that every reader of Woolf will recognize, even if they hadn’t been aware that they had noticed it before. That’s the tendency, in moments of charged epiphany, or baffled love and inarticulate affection, or accesses of transcendence or just the suspicion of transcendence, for Woolf’s free indirect discourse to resort to the demonstrative or the deictic, “This” or “That.” Think of Mrs. Dalloway’s “This moment of June,” or, more idiosyncratically, “She knew nothing; no language, no history; she scarcely read a book now, except memoirs in bed; and yet to her it was absolutely absorbing; all this; the cabs passing; and she would not say of Peter, she would not say of herse
Frame by Frame: A Materialist Aesthetics of Animated Cartoons by Hannah Frank
One cannot review Hannah Frank’s Frame by Frame without observing that it is a book marked by tragedy, specifically its author’s passing in 2017. That might have meant the end of the present volume—a lightly edited revision of Frank’s dissertation—had it not been for a few prominent advocates who saw it through to publication, even as they cautioned that, without much opportunity for revision, readers should consider Frame by Frame a work in progress. In his editor’s introduction, Daniel Morgan explains that the book “is basically the dissertation that Frank defended in August 2016,” and “not the book that she would have published,” as Frank had already begun planning extensive changes to the manuscript that she did not live to complete (xxii).
Florine Stettheimer: New Directions in Multimodal Modernism. Edited by Irene Gammel and Suzanne Zelazo
In 2017, at the Jewish Museum in New York, the exhibition “Florine Stettheimer: Painting Poetry” abounded in marvels for me and many others. Who was missing from the paintings mattered less than the astonishing presence of figures we all cared so about, presided over by Marcel Duchamp, on whose portraits and chess fascination Aaron Tucker expands so intelligently. There was Duchamp often, relaxed and no less brilliant than always.
Jim Crow Networks: African American Periodical Cultures by Eurie Dahn
The last few years have witnessed the loss of a handful of longstanding and influential Black publications. The Chicago Defender ceased its print publication in 2019 (but remains online) and the Johnson Publishing Company—publishers of Jet and (until 2016) Ebony—was liquidated in the same year. These legendary publishers left a profound legacy on African American print culture and these recent changes have occasioned many eulogies and prompted more consideration of the influential history of twentieth-century Black publishing. While there is a rich tradition of scholarship on African American periodicals in the nineteenth century—from abolitionist newspapers and religious journals to international publications and children’s periodicals—scholarship on twentieth-century African American periodicals has not been quite as robust.
Iliazd: A Meta-Biography of a Modernist by Johanna Drucker
Modernity seems very much to be with us still. Yet that explosive moment on either side of 1900 is long over, and what has come after is either a pale shadow of its former self or actively contests it. It is precisely that gap that Johanna Drucker explores in Iliazd: A Meta-Biography of a Modernist, in terms of the book artist Iliazd (1894-1975) and of Drucker herself, who began her project as a graduate student in 1985 and returned to it in 2019 as the Breslauer Professor of Bibliographical Studies and Distinguished Professor of Information Studies at UCLA.
Decadence in the Age of Modernism. Edited by Kate Hext and Alex Murray
This collection brings new attention to modernism’s self-repression—and the repression by critics—of its origins in fin-de-siècle decadent poetics. Examining a tantalizing range of Anglo-American writers, the contributors variously make a case for decadent writing as entwined with modernist achievements. Running through the volume, too, is an emphasis on the ways in which decadent literature determined a queer poetics that stood astride modernism in the writing of familiar writers such as Djuna Barnes, Ronald Firbank, Gertrude Stein, D.H. Lawrence, Mina Loy, H.D., Hart Crane, and Carl Van Vechten as well as lesser-known figures such as Margaret Sackville, Ada Leverson, Bruce Nugent, and Donald Evans.
Rethinking Faulkner in the “Black Lives Matter” Era
The Black Lives Matter (BLM) movement has done an enormous amount of work to educate Americans and the rest of the world about how deeply embedded white supremacy is in our institutions, including cultural ones like art and literature. It has also demanded that we center the voices and perspectives of nonwhite people. So why is William Faulkner having another moment, right when it feels like we have heard quite enough of white people’s takes on race relations? And why is he still at the top of our pantheon of authors when so many other perfectly suitable successors, such as Toni Morrison, have emerged since Faulkner’s death fifty years ago?
Intransitive Encounter: Sino-U.S. Literatures and the Limits of Exchange by Nan Z. Da
A Chinese translation of “Rip Van Winkle.” A speech by Ralph Waldo Emerson honoring the Burlingame-Seward treaty. A translation of Henry Wadsworth Longfellow’s “A Psalm of Life” inscribed on a Mandarin fan. The autobiography and poetry of Yale’s first Chinese graduate, who founded a school for Chinese exchange students in Hartford. Judging by the stature of the figures and institutions involved, we might expect that the archive of nineteenth-century literary encounters between China and the United States would have generated lasting networks of influence.
The Teaching Archive: A New History for Literary Study by Rachel Sagner Buurma and Laura Heffernan
Rachel Sagner Buurma and Laura Heffernan’s The Teaching Archive: A New History for Literary Study “declines to take up arms in the method wars” (9). But let’s not be fooled. This pacifism is not passive. This avoidance of “our metadiscourse” conditions an act of critical sabotage which defuses weapons of mass abstraction—i.e. formalism, historicism, ideology critique, postcritique, surface reading, distance reading, and so on (9). Buurma and Heffernan’s new history neither minds the gap nor suggests liberal, incremental readjustments. Rather, they make the claim—a revolutionary one—that what we “will watch,” “follow,” “see,” and “encounter” in the pages of their study “overturns,” “demolishes,” “scrambles,” “dispels,” and “dismisses” “nearly every major account of what the history of literary studies has been” (1, 6).
Shadow Archives: The Lifecycles of African American Literature by Jean-Christophe Cloutier
A recurring dispute on Twitter in recent years revolves around claims of archival discovery. Announcements of scholars finding documents “lost in the archive” inevitably provoke exasperated reminders, often from archivists, that such documents had already been found—and perhaps even cataloged. But when Jean-Christophe Cloutier came upon Claude McKay’s last novel, Amiable with Big Teeth, few could dispute that discovery was the correct term. As a graduate student intern at Columbia University’s Rare Book and Manuscript Library in 2009, Cloutier was processing the papers of literary agent and “all-around schemer” Samuel Roth when he encountered the lone copy of McKay’s unpublished manuscript, the existence of which surprised scholars and archivists alike (286).
Indigenous Vanguards: Education, National Liberation, and the Limits of Modernism by Ben Conisbee Baer
Ben Conisbee Baer’s Indigenous Vanguards is about the education of modernist educators. But the book is also itself an education, combining range with rigor to alter our understanding of modernism and its limits. Baer focuses mainly on the interwar period and on primary education as it figures in the work of Alain Locke, Léopold Sédar Senghor, Aimé Césaire, D. H. Lawrence, and Tarashankar Bandyopadhyay, among others. Baer’s readings are riveting, and they will inform research in fields including postcolonial studies, Marxism, critical and political theory, and comparative literature.
Race in the Modernism/modernity Archives: The Harlem Renaissance and Beyond
We are pleased to be able to share here a selection of articles on race and modernism from past print issues of Modernism/modernity. Reflecting the history of the journal, many of these focus on the Harlem Renaissance, but we’ve also included articles on the Caribbean and Brazil as well as a more broadly comparative treatment of race...
Placeless People: Writing, Rights, and Refugees by Lyndsey Stonebridge
In her stateless exile, Hannah Arendt read Franz Kafka. He was “rather uncannily adequate to the reality” of statelessness, she wrote (quoted in Stonebridge, 29). In 1933 Arendt had fled Germany through a house that sat on the border with Czechoslovakia (24). She ate dinner and left by the back door, into a legal void that exists on the fringes of the accepted world order of sovereign states and citizenship (24).
Changing Nationhood, Changeless Place: Bill Brandt/Henry Moore at the Hepworth Wakefield Gallery
Situated off the River Calder in West Yorkshire, the Hepworth Wakefield is a bright, airy gallery with ceiling to floor windows that draw in views of the waterfront and gardens outside; these demand to be taken in alongside the artwork within.
Art and Form: From Roger Fry to Global Modernism by Sam Rose
© 2020 Johns Hopkins University Press Sam Rose’s compelling new book Art and Form begins with the observation that modernist formalism has suffered severe blows to its reputation since its heyday in Clement Greenberg’s aesthetics, but argues that many of its critics have been attacking straw men. The supposed doxa of formalist aesthetics—that there is an autonomous realm of aesthetic experience, that this realm is radically separated from the world and available only to the sophisticated, and...
Affective Materialities: Reorienting the Body in Modernist Literature edited by Kara Watts, Molly Volanth Hall, and Robin Hackett
© 2020 Johns Hopkins University Press As I read Affective Materialities: Reorienting the Body in Modernist Literature, my mind wandered to a 1929 essay by Theodor Adorno. The essay considers the late quartets of Ludwig van Beethoven and the early compositions of Franz Schubert. Adorno describes the transition between the two composers as follows: He who crosses the threshold between the years of Beethoven’s death and Schubert’s will shiver, like someone emerging into the painfully diaphanous...
Enchanted Ground: André Breton, Modernism and the Surrealist Appraisal of Fin-de-Siècle Painting by Gavin Parkinson
French surrealism at mid-twentieth century was marked (some would say, marred) by André Breton’s new-found interest in esoteric knowledge—a period, argues Gavin Parkinson in his latest book, in which surrealism “willingly entered a critical and theoretical wilderness with its advocacy of magic and occultism in its art, poetry and theory, and its insistence on the ‘indispensable condition of enchantment’—the impenetrable nucleus of resistance to human inquiry that exists within any system of knowledge” (322). Parkinson’s justification for what he calls surrealism’s “journey into obscurity,” is an accomplished revisionist account of what has been treated as surrealism’s most misguided moment, one that Parkinson has successfully complicated—and recuperated—with the movement’s engagement with metaphor, symbolism, regional medievalism, and abstraction, as articulated by Breton’s concurrent assessment of fin-de-siècle French painting (323).
Spanish Modernism and the Poetics of Youth: From Miguel de Unamuno to “La Joven Literatura” by Leslie J. Harkema
The figure of Miguel de Unamuno (1864–1936) looms large in the development of modern Spanish literature, as thoroughly demonstrated by Leslie Harkema’s Spanish Modernism and the Poetics of Youth. By carefully tracing the literary and cultural impact of Unamuno’s writings, letters, and public lectures from the 1890s to the 1930s—four crucial decades for the development of Spain as a modern nation—Harkema presents an important and necessary critical rereading of the literary history of Spanish modernist and avant-garde movements. At the core of Harkema’s book lies a sophisticated critical examination of Unamuno’s work and influence that successfully overcomes old clichés and previously established commonplaces about the influential Basque polymath (poet, novelist, academic, politician, philologist, and philosopher, in no particular order), while at the same time newly presenting Unamuno’s philosophical and literary conceptualizations of youth in relation to a complex constellation of key networks of literary and cultural production in modern Spain.
Chicago Renaissance: Literature and Art in the Midwest Metropolis by Liesl Olson
© 2019 Johns Hopkins University Press The endpapers of Liesl Olson’s new book are disorienting. We see a map of a city bisected by lines and organized into grids. Heavier lines punctuated by circles indicate public transportation routes and their stops. A jagged shoreline appears at the bottom, cutting off the geometric exactness of the lines. But the lines grow less dense toward the top of the papers, indicating where the suburbs begin (or end) on the map. In the lower nook of the binding...
Still Modernism: Photography, Literature, Film by Louise Hornby
At the Oxford University Press stall at last year’s Modern Language Association Convention in New York City, Louise Hornby’s Still Modernism: Photography, Literature, Film was propped up next to Moving Modernisms: Motion, Technology, and Modernity, a collection of essays edited by David Bradshaw, Laura Marcus, and Rebecca Roach. Accidental, perhaps; mischievous, I hope: an editorial assistant with a twinkle in her eye.
Facing the Rising Sun: African Americans, Japan, and the Rise of Afro-Asian Solidarity by Gerald Horne
During World War II, Malcolm Little, who would eventually become the charismatic minister and spokesman for the Nation of Islam, Malcolm X, dissembled his true feelings toward war so successfully that he was banned from service. He found clever ways to avoid the draft. Malcolm Little played a “pro-Tokyo Negro” and acted crazy. He spread the word that he “was frantic to join . . . the Japanese Army,” and hoped that his words would reach army intelligence soldiers in Harlem (1). He whispered into the ear of the army psychiatrist in the induction center, “I want to get sent down South. Organize them nigger soldiers, you dig? Steal us some guns, and kill up crackers!” (1). His dissembling performance got Malcolm Little exactly what he wanted: a military classification of 4-F, not acceptable for military service, on his registration card.
The Flood Year 1927: A Cultural History by Susan Scott Parrish
This book investigates a flood that sprawled across forty percent of the United States (and some of Canada), killing hundreds (and perhaps thousands, since African American deaths were not included in any “official” count), displacing nearly one million people—including 300,000 African Americans who were placed in makeshift camps, which the Red Cross called “concentration camps” and which reproduced a particularly American racial logic—and stimulating an enormous range of intellectual and aesthetic production from the Mississippi Delta blues of Bessie Smith to the Berlin radio broadcasts of Walter Benjamin. The 1927 Mississippi flood, Parrish argues at length, and quite compellingly, should be understood as one of the central events in the history of modernism.
Poet-Critics and the Administration of Culture by Evan Kindley
Even taking into consideration penicillin and the atomic bomb, bureaucracy may be the most consequential and pervasive of twentieth-century humanity’s gifts to ourselves. (Global warming we gave to all species.) Yes, administrative gears ground in ancient Rome and classical China, but in the 1900s bureaucratic organizations and institutions of every type spread like kudzu. Sociologists such as William Whyte and Max Weber documented how, over the first half of the century, bureaucracies proliferated beyond the church, the military, and the government, coming to colonize every aspect of modern life.
Flat Protagonists: A Theory of Novel Character by Marta Figlerowicz
Here is a get-over-yourself model of literary character. Flat protagonists are those that do not become more filled out or more compelling to others over the course of the novel even though they occupy the most space. Marta Figlerowicz takes a wonderful risk in giving her book this name because the flatness of the protagonists she tracks is not a dimensional reduction (as in: keeping them flat to study them from a distance, paring down their attributes until only the most essential—usually, historical materialist—ones remain, or turning them into the new objects of an anti-depth hermeneutics).
The Subversive Art of Zelda Fitzgerald by Deborah Pike
Zelda Fitzgerald and her husband F. Scott Fitzgerald appeared on the cover of Hearst’s International magazine in 1922, held up as icons of the Jazz Age, of youth, talent, and burgeoning literary celebrity. This image remains one of the most recognizable of the couple. However, alongside this iconicity, Zelda Fitzgerald’s various diagnoses of mental illness have prompted critics both sympathetic and unsympathetic to remember her primarily in terms of the tragedy of her life—whether as the mad wife who brought about the downfall of her brilliant husband, or as the victim of patriarchal control and pathologization.
Spectacular Modernity: Dictatorship, Space, and Visuality in Venezuela, 1948-1958 by Lisa Blackmore
This book explores the relationships between modernism, modernization, and dictatorship, and in the process repoliticizes the discussion of a crucial period in Venezuelan modernity. Blackmore approaches these relationships through Raymond Williams’s notion of a dominant cultural formation, that “sense of reality shaped by the complex interlocking of political, social, and cultural forces that permeates a whole body of practices, expectations, and aspects of life” (19). Relying on detailed historical research and archival work, Blackmore conducts a complex and nuanced examination that does not avoid the subject’s many sensitive nerves.
Impossible Modernism: T. S. Eliot, Walter Benjamin, and the Critique of Historical Reason by Robert S. Lehman
How modernism transformed the conditions of history is the subject of Robert S. Lehman’s excellent Impossible Modernism, a book that should change the way we do history in modernist studies. Lehman surveys recent and current historicist work in the field and rightly argues that “[i]n their eagerness to read modernism historically, critics have rarely paused to consider how history is read by modernism” (xv).
Sounding Irish Radio at Midcentury
Reading through these two excellent new volumes situated at the intersection of radio studies and modern Irish literature, one feels presented with two very different instantiations of the radio listener. On the one hand, we have the dial-twirling shortwave enthusiast, stationed in (perhaps) Cork, and tuning in to transmissions Irish in affiliation but emanating from Dublin, Addis Ababa, New York City, Belfast, Geneva, London, and Berlin—transmissions that dazzle by their variety and that impart an awareness of their connectedness in dispersal.
Edge of Irony: Modernism in the Shadow of the Habsburg Empire by Marjorie Perloff
Our understandings of aesthetic periods along national and generic lines are often highly contingent. Anglophones may know a good deal about seventeenth-century Dutch painting, but almost nothing about eighteenth-century Dutch poetry. Italian opera looms large in the received history of nineteenth-century
Queer Bloomsbury, edited by Brenda S. Helt and Madelyn Detloff
Queer Bloomsbury is a book in two parts, and as such, evokes two different responses. “Part One: Ground-Breaking Essays” consists of lightly-edited reprints of essays by Carolyn Heilbrun, Christopher Reed, George Piggford, Bill Maurer, and Brenda Helt ordered chronologically from Heilbrun’s 1968 “The Bloomsbury Group” to Helt’s 2010 “Passionate Debates on ‘Odious Subjects.’”
Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation by Nicholas Sammond
In Birth of an Industry, Nicholas Sammond traces “the connections between the animated blackface minstrel, the industrialization of the art of animation, and fantasies of resistant labor” (xii). His core argument is that early animators developed unruly, cartoon minstrels in response to their increasingly depersonalized workplace. On a broader scale, the project works to situate animation within “a larger and longer history of racial iconography and taxonomy in the United States” (4). To make his case Sammond navigates a historically grounded racial matrix of minstrel shows, vaudeville acts, as well as other complex and contradictory representational forums.
Other Things by Bill Brown
Bill Brown has had things on his mind for quite some time. In The Material Unconscious: American Amusement, Stephen Crane and the Economics of Play (1997) , he used Crane’s fiction to explore the disquietingly everyday objects which populate their imagined worlds, not just as descriptive details of the modern, but as strange historical presences telling stories about technology, race, and the lived experience of capitalism that few had found there before.
The Extinct Scene: Late Modernism and Everyday Life by Thomas S. Davis
A brilliant and timely book, The Extinct Scene joins the growing list of scholarly works that deal with Anglo-British modernism in the middle of the twentieth century, such as Tyrus Miller’s Late Modernism (1999), Marina MacKay’s Modernism and World War II (2007), Leo Mellor’s Reading the Ruins (2011), Peter Kalliney’s Commonwealth of Letters (2013), and Gill Plain’s Literature of the 1940s (2013). These works establish continuities from the interwar years through the Second World War and into the era of British decolonization.
Forms: Whole, Rhythm, Hierarchy, Network by Caroline Levine
The final chapter of Caroline Levine’s Forms begins by asking what the formalist cultural studies of the future might look like. Levine’s answer: “it could look something like David Simon’s superb television series, The Wire.” Notice, not like an analysis of The Wire but like The Wire itself, which Levine goes on to treat as an exemplary “theorization of the social” (133). Rather than analyze the show’s most sympathetic characters, she says, the formalist critic might do better to emulate their “canny formalism” (150).
From the Print Journal
Impossible Modernism: T. S. Eliot, Walter Benjamin, and the Critique of Historical Reason by Robert S. Lehman
Volume 2 Cycle 3
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How modernism transformed the conditions of history is the subject of Robert S. Lehman’s excellent Impossible Modernism, a book that should change the way we do history in modernist studies. Lehman surveys recent and current historicist work in the field and rightly argues that “[i]n their eagerness to read modernism historically, critics have rarely paused to consider how history is read by modernism” (xv). We locate modernist texts within their historical contexts, interested in how they “respond (critically, ideologically) to the givenness of historical facts,” but without recognizing how modernist texts existed to question this very givenness (xiv). The problem is ironic, because modernism ask us to “rethink the very historicism [we] bring to bear on it,” and we ignore its most vital engagements with history by presuming them to be unmediated ones (xv).
Theodor Adorno took Walter Benjamin to task for this kind of mistake. In his response to Benjamin’s “The Paris of the Second Empire,” Adorno complained of Benjamin’s omission of the “mediation by the total societal process”; in his “persistent tendency to relate the pragmatic content of Baudelaire’s work directly to adjacent features of the social history of his time,” Benjamin had failed to recognize that Baudelaire’s poetry (like many modernist texts) was no “unmediated reflection” of its history. It was no “wide-eyed presentation of mere facts” but rather a form of historical engagement (quoted on 157). Of course, Benjamin did know it, and Adorno was wrong about the mode of interpretation at work in the Baudelaire essay and in The Arcades Project. At work here was an anecdotal method designed precisely to revise dangerously naïve historical interpretation. Affirming it, Lehman mounts a defense of Benjamin, as one part of his superb account of the critique of historical reason Benjamin develops across his writing. This account proves that we must cease trying simply to relate the pragmatic content of modernist texts to adjacent features of the social history of their time and instead read these texts for their historical critique.
Modernist writers inherited a form of history, developed across centuries of thought, about the relationship between historical and literary forms. Poetry and history had been coupled and contrasted in Aristotle, Marx, and Nietzsche (and their interlocutors) in such a way as to establish the standard nineteenth-century (or pre-modernist) view of what forms history might take. Throughout this tradition of thought was the persistent suspicion that “both poetry and history are centrally concerned with the relationship between universal and particular,” and with the urge to find universal structures for singular events (3). Could history be what poetry constructed? Modernist writers “enter the fray at a critical moment” in which this relationship had the potential to give poetry new life—“to produce, poetically, a history in which poetic production . . . is possible” (24, 23). A crisis in the very construction of history was a chance for the modernist writer to “bring history in line with radically innovative artistic or political goals” (as Nietzsche might have wished) and thereby to make history “the detour through which poetry begets poetry” (18, 23). How poetry could be reborn by shaping history was the question for modernist writers committed to this self-sustaining historical critique.
T. S. Eliot developed just such a “thoroughgoing critique” of historicism by asking what historical models could make poetry possible for him (29). He pursued this question across a series of poetic modes: lyric, satire, and myth. What developed from first to last in these modes was a way for the modernist poet to give shape and significance to histories that might otherwise only have put poetry in crisis. In the lyric form of “Prufrock,” Eliot began to discover how to keep the vast quantity of history from overwhelming his mind, to solve the problem of “amputation,” whereby the individual, cut off from his own ability to write and think, “loses himself to history” (43). Lyric turns amputation to its advantage. It provides the means for “therapeutic self-division,” a split between the opposed faculties of the mind that correspond to the formal and empirical functions of history (33). That is, the mind of the lyric poet gets the better of history by modeling itself upon the structure of historical critique, in and through the differences lyric personae might adopt. “Tradition and the Individual Talent” develops a systematic explanation of this possibility, but not so that Eliot might rest content with it; his satirical work advances self-division toward a stronger literary form by taking a more powerfully negative view of history’s current excesses. To fully “secure our difficult passage from formlessness to form,” however, Eliot had to develop his mythic method (72). We know of course that this method was meant somehow to give order to the futility of history, but here—rethought with such rigorous ingenuity—the mythic method emerges as a truly viable literary-historical mode. Lehman gives us the definitive account of it, as a culminating “strategy of division” (92). Apart from history and therefore truly able to shape it, myth makes The Waste Land the essential modernist poem of historical crisis.
Lehman’s other exemplary figure is Benjamin, whose anecdotal method is the second of the three modes by which Benjamin (like Eliot) developed a modernist critique of history. First was order—Benjamin’s effort to replace Kant’s transcendental philosophy with a “doctrine of orders,” which was able to explain how “what Kant presents as a structure of certain or timeless knowledge is in fact open to revision” (132, 133). Timeless knowledge is made historical in Benjamin’s doctrine of orders, asserting the “dignity of experience” (Erlebnis), achieving a “democratization and finitization” of Kantianism and thus a form for historical emergence (130, 132). The anecdote as Benjamin practiced and defined it was one crucial format for this experiential critique, important for the way it could deliver a materialist history without collapsing into mere empiricism. It was, in other words, a revised Kantianism, and it led the way to the third mode: Benjamin’s signature critique of history in allegory. Just as Lehman gives us the definitive view of Eliot’s mythic method, he has redefined Benjaminian allegory and, more specifically, the kind of allegory itself allegorized in Benjamin’s Angelus Novus. This Angel of History is “the perfect materialist historian,” a critical figure for history itself as modernist critique would have it, because it “sees history . . . without reading it,” destroying any specious narrative continuum, enabling history that is not temporally given but merely apparent to the allegorical vision (189). The Angelus is finally a “textual event,” an “inscription marking, without representing, the impossibility of a certain strategy of historical representation,” and this style of eventness makes it a figure for the “double vision” developed by the modernist critique of history—that which can see history as both empirical event and transcendental scheme and therefore a modernist opportunity (191).
“[W]e inherit this inheritance”: what we ought to make of history is a problem Benjamin and Eliot themselves anticipated, making it hard for us to get the right perspective on them; indeed, figures for this history (inheritance) are the problem with it (193). But knowing that now, we must at least be less likely to simply take a “precritical prehistorical” view of history’s impact on modernist culture and instead struggle to recognize the modernist “struggle to grasp and transform the formal conditions of historical experience” (155, xiii). Lehman’s brief for that reversal is absolutely conclusive. Its intellectual power is remarkable and yet so refined that the argument somehow—in spite of its complexity—also has the most elegant lucidity. It will be the ideal model for further inquiry into similar or different ways modernists of all kinds sought to change history itself.