Recent Scholarship

February 17, 2021 By: The Editors

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."

April 21, 2026 By: Emily Christina Murphy

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.

February 25, 2026 By: Allan Hepburn

© 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...

December 17, 2025 By: Edward Mitchell

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.

November 5, 2025 By: H. N. Lukes

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.

August 20, 2025 By: Martin Harries

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

June 18, 2025 By: Jules O’Dwyer

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.

March 26, 2025 By: Paul Jaussen

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

December 11, 2024 By: Anca Parvulescu

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.

August 22, 2024 By: Shaj Mathew

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.

June 19, 2024 By: Michal Peles-Almagor

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

February 21, 2024 By: Thomas A. Laughlin

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.

November 16, 2023 By: Alessandro Giammei

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.

July 20, 2023 By: Joshua Corey

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.

January 9, 2023 By: Len Gutkin

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

September 1, 2022 By: Matthew Levay

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).

June 30, 2022 By: Mary Ann Caws

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.

June 9, 2022 By: Brooks E. Hefner

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.

March 17, 2022 By: Richard Cavell

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.

February 24, 2022 By: Richard A. Kaye

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.

December 16, 2021 By: Greg Barnhisel

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?

November 22, 2021 By: Hsuan L. Hsu

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.

September 7, 2021 By: Benjamin Hagen

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).

June 21, 2021 By: Laura E. Helton

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).

April 6, 2021 By: Ramsey McGlazer

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.

February 17, 2021 By: Christopher Bush

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...

December 15, 2020 By: Sara Silverstein

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).

June 8, 2020 By: Patrick Fessenbecker

© 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...

March 26, 2020 By: Marta Figlerowicz

© 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...

January 3, 2020 By: Susan Laxton

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).

September 17, 2019 By: Ignacio Infante

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.

June 13, 2019 By: Kinohi Nishikawa

© 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...

February 15, 2019 By: Alix Beeston

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.

December 4, 2018 By: Etsuko Taketani

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.

September 18, 2018 By: Robert Jackson

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.

April 18, 2018 By: Greg Barnhisel

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.

January 31, 2018 By: Nan Z. Da

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).

January 19, 2018 By: Emily Christina Murphy

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.

November 17, 2017 By: Vicente Lecuna

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.

August 25, 2017 By: Jesse Matz

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).

April 29, 2017 By: Ian Whittington

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.

March 2, 2017 By: Scott W. Klein

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

February 1, 2017 By: Ria Banerjee

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.’”

November 15, 2016 By: Marvin McAllister

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.

September 16, 2016 By: Mark Goble

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.

May 24, 2016 By: Allan Hepburn

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.

March 2, 2016 By: Paul Saint-Amour

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

Placeless People: Writing, Rights, and Refugees by Lyndsey Stonebridge

December 15, 2020 By: Sara Silverstein

Volume 5 Cycle 4

Placeless People: Writing, Rights, and Refugees. Lyndsey Stonebridge.
Placeless People: Writing, Rights, and Refugees. Lyndsey Stonebridge. Oxford: Oxford University Press, 2018. Pp. 272. $34.00 (cloth).

© 2020 Johns Hopkins University Press

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). Reading Kafka helped Arendt, Lyndsey Stonebridge argues, turn her own experience into a “thought experiment” about rights and the modern state (30). She would publish Origins of Totalitarianism in 1951, the same year she finally became a naturalized citizen in the United States (30).

Arendt is one of seven authors who are each the subject of a chapter in Stonebridge’s Placeless People: Writing, Rights, and Refugees. “Arendt was one of the first,” Stonebridge writes, “to understand that what looked like a refugee crisis in reality was a crisis for the political and moral authority of the European nation state” (4). Through Stonebridge’s elegant and compelling literary and historical analysis, the writers whom she brings together diagnose the failures of the modern world from the symptom of mass displacement. Arendt, George Orwell, Simone Weil, Samuel Beckett, Dorothy Thompson, and W. H. Auden each reflected on the mid-twentieth-century refugee crisis as it occurred. Each struggled to avoid historical inevitability by imagining “how it could be”—a skill that Stonebridge finds Arendt learned in part through Kafka’s literary style (42). Literature, Stonebridge argues, offers escape routes from deterministic descriptions of the modern political community. “Kafka,” she explains, “offers Arendt a means of thinking about freedom at a moment when it seemed almost impossible to think outside of nation-state politics” (44). In her conclusion, Stonebridge introduces a contemporary Palestinian poet, Yousif M. Qasmiyeh, establishing a continuity of thought from past to present displacement.

Placeless People gives hope for a response to the refugee crises of our own world both with lessons from earlier writers and with the possibility that literature itself contains political redemption—for those of us reading today as much as for the subjects of Stonebridge’s book.

For Arendt, from her stateless condition, language and literature offered images from which to construct the world anew, for reimaging a political community from a literary community (21). Theodor Adorno wrote that poetry after Auschwitz would be barbaric.[1] The response that Stonebridge finds in these authors is that there must be poetry after Auschwitz or there will be no future, no possibility to break the cycle that made Auschwitz possible.

Crucially, she argues we will find the images of literature and language to address the political failures that produce displacement specifically among the displaced (19). We look to refugees for pathos, Stonebridge argues, and fail to recognize the abundant and ever-expanding archive of displacement as a space for creative thought (25). Refugees—and placelessness more generally—open an opportunity for thinking about rights beyond the state, beyond sovereignty and citizenship.

The Jewish and Palestinian refugee crises of the mid-twentieth century are together the archive of displacement from which Stonebridge and the writers in Placeless People draw their sources. As they grapple with the consequences both of Jewish statelessness and of Zionism, Israel/Palestine emerges as the quintessential failure of nation-based sovereignty. At the same time, unexpectedly, Stonebridge raises the Palestine/Israel of 1948 as a brief moment of hope for a different future, suggesting that it presented the opportunity of “a rights-based citizenship without nationalism” (24). She finds this construction in Arendt, who advocated a Jewish homeland rather than a Jewish nation-state, believing it might become an extension of a European federalism that represented “sovereignty without nationalism” (43). Starkly, Simone Weil’s alternative to nationalism had a common pain, rather than common values or common identity, as the foundation for community (100–01).

Stonebridge suggests the mid-century failure to resolve Israeli/Palestinian sovereignty and citizenship has made that same crisis the present-day measure of our ability to imagine a new future. It is a sobering thought when recent studies of climate change project that approximately 150 million people currently live on land that will be below high tide in thirty years.[2] As land disappears, we will face yet another global challenge to our conception of sovereignty. A solution for Palestine/Israel, Stonebridge argues, will prepare us for the necessary rethinking of political structures and communities that such a future will demand (8). It is not an optimistic thought, but it does set a roadmap for the questions we must be asking and the concepts—apparently immutable—that we must begin to challenge.

The mid-century writers of Placeless People concluded that human rights and humanitarianism are not sufficient as solutions. An adequate response to displacement and the loss of rights that accompanies it can only be political because the cause is political. This understanding is truly the unifying feature between the authors Stonebridge selected. Humanitarian action appears merely as a band-aid to treat, or even to cover up, a symptom; and human rights for these authors are themselves another symptom of the nation-state’s political failure.

When the displaced have “the audacity to believe” that they are entitled to rights, they strip away the myth that rights are natural and universal (39). Instead, we recognize that rights are tied to citizenship, utterly dependent on the laws and institutions of a state for protection. The most dangerous situation, Arendt wrote in Origins of Totalitarianism, is to be “nothing but human,” without citizenship, for to be merely human means to be without rights.[3]

The existence of refugees or people who are stateless is deeply disconcerting for those of us who imagine ourselves secure in citizenship and rights. The displaced represent the fragility of both, revealing our own vulnerability. The writers in Placeless People recognized that the typical response was to make the state more exclusionary (Placeless People, 8). This reaction only created hierarchies of rights and cycles of greater displacement. Weil warned: “Whoever is uprooted himself uproots others” (quoted in Stonebridge, 105). The existence of the modern nation-state inherently creates rightlessness, and our own citizenship makes us complicit in the rightlessness of someone else (169). In the case of climate change, we are each responsible for daily choices that will transform the physical landscape and alter sovereignty and citizenship irrevocably.

Yet, at the same time, none of us can be entirely confident that we are not the ones who will lose our rights. Who knows themselves to be the pariah, Stonebridge’s subjects ask. To protect ourselves we tighten our sense of nation, and build our borders taller, tying nation to state in the way these writers knew will fail.

What is the alternative? Not the Universal Declaration of Human Rights, passed in 1948, according to the voices from this archive of displacement (13). Beckett and Arendt both despaired that “human rights were a poor response to the radical rightlessness of the age” (143–44). Stonebridge writes that Weil (who died in 1943) “would not have been at all surprised at the document’s failure to reconcile its moral aims with the realpolitik of late postcolonial state formation” (22). One alternative that Stonebridge works out over the course of her analysis is to construct citizenship without national identity (164). Still, even Arendt could not move beyond the idea that group identities are a necessary precursor for rights (7).

The productive creativity for which Stonebridge makes a case often does not produce an immediate resolution. Placeless People hints that it may be necessary to await new readers to discover the potential for influential ideas in these observations of an earlier era. Stonebridge recites Primo Levi’s experience of rediscovering Dante’s Inferno in Auschwitz as an example of how literature shifts meaning from the vantage point of the reader (64). The voices from the archive of statelessness, including those Stonebridge has selected, may take on a new significance in our present crisis, as Kafka did for Arendt when she recognized that he had torn apart the “fiction that nation states are willing or able to legislate for all on their territory” (34). The invitation is for us, Stonebridge’s readers, to do the same, forming an active part of this multi-era thought experiment.

Placeless People provides a philosophical framework for further mining the voices and contributions of the displaced. Among the subjects of Stonebridge’s book, only Arendt, Weil, and Qasmiyeh are refugees themselves. Too often, merely labeling someone a “refugee” writer, Stonebridge notes, may consign their voice to “invisibility” (180). Including Qasmiyeh in the conclusion is an invitation to take his thinking on statelessness as seriously as we do that of his predecessors. They were not so different from him in their own time, as we understand from Stonebridge’s historicization. The archive of statelessness contains many more voices who may hold the key to new constructions of rights and citizenship. There were those in the mid-century generation who worked to build nonexclusionary states; others who built institutions to protect rights outside of citizenship.

The success of this book will lie in its readers. Whether its subjects succeeded in contributing to a literature capable of imagining a new future will depend on whether we accept their provocative challenge. Stonebridge has created an engaging forum for that encounter, and has herself contributed to expanding the language we use to discuss citizenship and statelessness. Physical displacement may be inevitable, but the loss of rights does not have to be. When one calamity does not inherently lead to the other, then universal rights will exist and the insecurities that produce nationalism will have an opportunity to fade.

 

Notes

[1] Theodor Adorno, “Cultural Criticism and Society” (1949) in Prisms, trans. Samuel and Shierry Weber (Cambridge, MA: MIT Press, 1981), 34.

[2] Denise Lu and Christopher Flavelle, “Rising Seas Will Erase More Cities by 2050, New Research Shows,” New York Times, October 29, 2019.

[3] Hannah Arendt, Origins of Totalitarianism (New York: Harcourt, 1976), 300.