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- Introduction: Affective Forms of the Modernist Novel
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Abstract: In November 1925, D.H. Lawrence wrote his famous essay on “Why the Novel Matters,” with its much-quoted proclamation that “[t]he novel is the one bright book of life,” which, unlike “poetry, philosophy, science, or any other book,” can “make the whole man alive tremble” (195). In the same month, he wrote another essay, “The Novel and the Feelings.” Lawrence begins by drawing a distinction between the “emotions”—“things we more or less recognise” and can readily name as love, hate, fear, anger, or greed—and the “whole stormy chaos of ‘feelings’” that reside in “the dark continent of [the] self,” the former likened to “domesticated animals” and the latter to “wild creatures” whose “muffled roarings” and “stifled ... Read More PubDate: 2024-08-06T00:00:00-05:00
- D. H. Lawrence and Shyness
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Abstract: As D. H. Lawrence wrote and revised Lady Chatterley’s Lover (1928), he felt caught between toughness and tenderness. He wrote to Dorothy Brett:have been re-writing my novel, for the third time. It’s done, all but the last chapter. I think I shall re-christen it ‘Tenderness’. And I really think I shall try to publish it privately here, at ten dollars a copy. I might make a thousand pounds, with luck, and that would bring us to the ranch nicely. If only the fates and the gods will be with us this year, instead of all the time against, as they were last year. If only one were tough, as some people are tough!In her recent biography, Burning Man (2021), Frances Wilson describes Lawrence as a writer of extremes and ... Read More PubDate: 2024-08-06T00:00:00-05:00
- Elizabeth Bowen’s Equivocal Modernism
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Abstract: Elizabeth Bowen’s recent rise to prominence has been closely tied to the revival of modernism’s fortunes over the past two decades.1 But if Bowen is no longer the neglected figure she was for much of the twentieth century, a discernible apprehensiveness about her place inside, outside, or on the margins of modernism continues to color critical accounts of her fiction.2 The most conspicuous evidence of this apprehensiveness is to be found in the many efforts to rhetorically position her writing as part of a lineage with incontestably canonical writers, particularly revered modernists like James Joyce, Virginia Woof, and Samuel Beckett, and novelists such as Jane Austen, Gustave Flaubert, and Henry James who ... Read More PubDate: 2024-08-06T00:00:00-05:00
- Elizabeth Bowen’s Queer Heart
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Abstract: Skipped a beat.Already'Double-hearted.Writing together, with one heart.A queer heart.We’re going to talk about what we take to be the queer heart of modernism, by focusing on Elizabeth Bowen, and especially on a story from her war-time collection Look at All Those Roses (1941), butWe have to get our breath first—We have to get things ready, tidy up, clear a space, like a couple of crazy heart-surgeons—What happens to the heart in the space of modernism, and in fiction, in the novel . . .Not so much modernism from the heart, perhaps, as modernism at heart: it would be a question of reading and thinking modernism anew, from the heart, with the heart at its heart, in such a way that—At least this would be the ... Read More PubDate: 2024-08-06T00:00:00-05:00
- True Feints: Samuel Beckett and the Sincerity of Loneliness
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Abstract: “A voice comes to one in the dark” (3)—famous first words in the loneliest of Beckett’s works, Company. The fable, as it is told, features a solitary figure whose only companionship comes in the form of voices that turn out to be his own. One voice conjures past scenes in the second-person while another deigns only to speak in a distant third-person. If there are intimations of company—in rekindled memories, social emotions, or the positing of unknown presences—they only delay the truth that Company drives toward, affirms with its last breath: “Alone” (42). And yet, to tell the story this way is to overlook its gestures outward, its invitations in.Take again the first sentence. We might entertain the possibility ... Read More PubDate: 2024-08-06T00:00:00-05:00
- “Other kinds of emotions”: Ishiguro’s Late-Modernist
Affect-
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Abstract: In her review of Kazuo Ishiguro’s The Unconsoled (1995), the famously irascible New York Times book critic Michiko Kakutani is alert to the theme of irritation. “As the circuitous narrative of The Unconsoled slowly unfolds,” she remarks, “Mr. Ishiguro tempts the reader to sympathize with Ryder’s frustration at being kept from his concert preparations” (Kakutani n.p.). “Certainly Ryder’s mood of perpetual irritation and annoyance proves easily contagious,” Kakutani continues, noting that “all the characters he meets, after all, are horribly long-winded, and often rude and importunate as well” (n.p.). As she ends her review, Kakutani makes explicit her own frustration with a novel that is not only about irritation ... Read More PubDate: 2024-08-06T00:00:00-05:00
- Joycean Form, Emotion, and Contemporary Modernism: Ellmann’s Ducks,
Newburyport and McCarthy’s The Making of Incarnation-
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Abstract: The discussion of emotion and related terms—affect, feeling, mood, Stimmung—by commentators with an interest in cultural productions has, over the past quarter century, become as fluid and many-sided as the phenomena themselves. Are emotions named, subjective categories of feeling in contrast to the universal, pre-linguistic, pre-cognitive, non-subjective domain of affect'1 Or is pre-cognitive, bodily affect a historical phenomenon that only emerged (in the West) in the nineteenth century'2 Or, rather than attempting to distinguish between affect and emotion, should we try to compile a list of affects/emotions as the pre-cognitive ground of all feeling'3 Or is it simply a mistake to hypothesize the existence of a ... Read More PubDate: 2024-08-06T00:00:00-05:00
- Staging the Surface: James Joyce’s Theater for Theorization in
“Circe”-
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Abstract: An adolescent James Joyce wrote, “There is nothing so deceptive and for all that so alluring as a good surface” in his page-long composition “Trust Not Appearances” at Belvedere College between 1893–98 (3). This claim marks the beginning of Joyce’s juvenilia, but it also makes for an apt starting place for considering contemporary debates on reading practices, rife with language of surfaces, symptoms, and depths. A “good surface” most obviously lies at the center of recent calls for surface reading in literary studies, but the seductive, untrustworthy quality of surfaces is also the preoccupation of the methodologies to which this interest in surface reading responds: a distrust in the “deceptive” surface of a ... Read More PubDate: 2024-08-06T00:00:00-05:00
- Ferdinand Levy: A Harlem Renaissance Dubliner and De-Colonial
Cosmopolitanism-
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Abstract: Jamaican-born Ferdinand Levy (1904–1972) was a medical student at Trinity College, Dublin in 1941 when Colm Ó’Lochlainn’s Three Candle Press published his only collection of poetry, Flashes from the Dark. He spent over a decade in Ireland, arriving in 1932 and leaving in 1947, eventually becoming a Medical Officer of Health for the Parish of St. James, Montego Bay in Jamaica where he died in 1972. Levy, who had been in New York in the 1920s, brought something of the Harlem Renaissance to Lower Baggot Street. Senator John Harold Douglas, at whose wedding Levy served as an usher, described his friend in an obituary in The Irish Times as “a well-known personality” in 1930s Dublin, “patron of the arts, and a poet of ... Read More PubDate: 2024-08-06T00:00:00-05:00
- Elizabeth Bowen’s Critical “Scrap Screen”
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Abstract: In the opening lines of her little-known essay “Once Upon a Yesterday,” Elizabeth Bowen comments on the relationship between literature and nostalgia. She explains that despite an abundance of sentimental literature on the market in 1950, “novels set back in time, picturesque biographies, memoirs, diaries dated long ago,” nostalgia is not a “literary invention,” but rather a pervasive mood that hints at a widespread desire among readers and writers to relive the glorified “better days” of the past (“Once” 9). Bowen argues that to ensure the survival of present-day literature writers must instead “examine the stuff of our time to see if through it also there does not run some gold vein” (“Once” 37). Despite this ... Read More PubDate: 2024-08-06T00:00:00-05:00
- “He will now think he hears her”: Indirect Perception and the Return
to Proust in Samuel Beckett’s Ghost Trio-
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Abstract: The absence of an unnamed “her” gives meaning and impetus to events in Samuel Beckett’s second television play, Ghost Trio (1976), rightly described as “one of Beckett’s most powerful visualizations of the agony of waiting and the pain of solitude” (Ben-Zvi 33). A bare, grey room gradually fades into view and persists onscreen for ten seconds; a faint female voice-over (V) interrupts the silence, introduces the spectators to the room’s constituent structures (floor, wall, window, door, and pallet), and ultimately directs their gaze to the “sole sign of life” inhabiting this austere space: a seated male figure, F, who awaits a female visitor (408). The teleplay unfolds in the chasm between F’s mounting anticipation ... Read More PubDate: 2024-08-06T00:00:00-05:00
- Timbral Poetics: Samuel Beckett and the Impossible Voice
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Abstract: Beckett’s poetic sequence “mirlitonnades” voices the event, one that is yet to come or fails to come, but in doing so it also marks the event of voice. This event is at once an event of enunciation, of human voice produced in the shape of poetic quatrains and repeated in the mind of the reader, as it is an event of language and of a sign-system imbued with the task of self-expression. “[M]irlitonnades,” like much of Beckett’s late poetry and prose, welcomes and banishes the unnamed event in the same breath. However, what is unique to the voice in “mirlitonnades” is the brevity and the eagerness with which it attends to this future event, however impossible this event it might be. It is this impossibility at the ... Read More PubDate: 2024-08-06T00:00:00-05:00
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