David Garnett’s The Sailor’s Return (1925) and Sylvia Townsend Warner’s Summer Will Show (1936) are highly significant for their engagement with Black characters’ walking practice, which becomes a means to explore, and circumscribe, their subjectivity. Garnett and Warner use the physical act of walking to examine their imbrication, as white, English writers, with the haunting legacies of enslavement and empire. The essay offers a reading of Tulip Gundemey in The Sailor’s Return and Caspar Rathbone in Summer Will Show to reveal how their peripatetic practice is imbued with negative, racialised affect, which is instrumental to each novel’s tragic conclusion. This in turn reiterates the complexity of Garnett and Warner’s ambivalent responses to racism and imperialism in their fiction, which are exacerbated by their positionality as white, Bloomsbury-affiliated writers active during the inter-war period.
{"title":"Black lives and peripatetic practice in Sylvia Townsend Warner’s <i>Summer Will Show</i> and David Garnett’s <i>The Sailor’s Return</i>","authors":"Milena Schwab-Graham","doi":"10.3366/mod.2023.0402","DOIUrl":"https://doi.org/10.3366/mod.2023.0402","url":null,"abstract":"David Garnett’s The Sailor’s Return (1925) and Sylvia Townsend Warner’s Summer Will Show (1936) are highly significant for their engagement with Black characters’ walking practice, which becomes a means to explore, and circumscribe, their subjectivity. Garnett and Warner use the physical act of walking to examine their imbrication, as white, English writers, with the haunting legacies of enslavement and empire. The essay offers a reading of Tulip Gundemey in The Sailor’s Return and Caspar Rathbone in Summer Will Show to reveal how their peripatetic practice is imbued with negative, racialised affect, which is instrumental to each novel’s tragic conclusion. This in turn reiterates the complexity of Garnett and Warner’s ambivalent responses to racism and imperialism in their fiction, which are exacerbated by their positionality as white, Bloomsbury-affiliated writers active during the inter-war period.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of <i>Russomania: Russian Culture and the Creation of British Modernism, 1881–1992</i> by Rebecca Beasley","authors":"Claire Davison","doi":"10.3366/mod.2023.0404","DOIUrl":"https://doi.org/10.3366/mod.2023.0404","url":null,"abstract":"","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay reads Virginia Woolf’s play Freshwater as a coterie parlour theatrical, focusing on both the 1923 draft and the 1935 playscript. Scholars of both Woolf’s writings and of Bloomsbury’s coterie culture have long read the play as a modernist’s satire of the aesthetics and politics of Victorian culture. My reading challenges such a straightforward understanding of Woolf’s satire, suggesting that the play’s mockery is in fact directed inward, at Bloomsbury and at the insularity of coterie culture itself. I argue that attending to both scripts as coterie texts – i.e., texts meant for restricted consumption and production, defined by both their limited circulation and their metacommunicative capacity – recuperates these critiques, which are specific not only to Woolf’s restricted audience, but to the players for whom her roles were designed. By looking at the evolution of the play between its first 1923 draft and its 1935 performance text, too, I trace a narrative of Woolf’s disappointed hopes, one that wraps up the ‘failure’ of modernism with the failure of coterie’s queer kinship to displace the classed, heteronormative Victorian family, as well as the failure of modernism’s other social experiments to effect broader social and cultural change.
{"title":"Outside Joke: Virginia Woolf’s <i>Freshwater</i> and Coterie Insularity","authors":"Michelle Alexis Taylor","doi":"10.3366/mod.2023.0403","DOIUrl":"https://doi.org/10.3366/mod.2023.0403","url":null,"abstract":"This essay reads Virginia Woolf’s play Freshwater as a coterie parlour theatrical, focusing on both the 1923 draft and the 1935 playscript. Scholars of both Woolf’s writings and of Bloomsbury’s coterie culture have long read the play as a modernist’s satire of the aesthetics and politics of Victorian culture. My reading challenges such a straightforward understanding of Woolf’s satire, suggesting that the play’s mockery is in fact directed inward, at Bloomsbury and at the insularity of coterie culture itself. I argue that attending to both scripts as coterie texts – i.e., texts meant for restricted consumption and production, defined by both their limited circulation and their metacommunicative capacity – recuperates these critiques, which are specific not only to Woolf’s restricted audience, but to the players for whom her roles were designed. By looking at the evolution of the play between its first 1923 draft and its 1935 performance text, too, I trace a narrative of Woolf’s disappointed hopes, one that wraps up the ‘failure’ of modernism with the failure of coterie’s queer kinship to displace the classed, heteronormative Victorian family, as well as the failure of modernism’s other social experiments to effect broader social and cultural change.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135004119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines Dorothy Richardson’s engagement with The Freewoman’s discussion of women’s individuality. Of Marsden’s three periodicals, The Freewoman, the New Freewoman, and The Egoist, it is her final periodical that is best associated with Richardson’s work. It was in The Egoist that May Sinclair published her influential review of Richardson, which referred to Richardson’s style as ‘stream of consciousness’. However, Richardson’s most engaged interaction with the Marsden periodicals was actually The Freewoman. Indeed, Richardson’s Pilgrimage series represents a literary example of the periodical’s call for a new type of literature that depicts the individual’s unfiltered and uncensored thoughts.
{"title":"‘The novel is going to rediscover itself’: Dorothy Richardson, <i>The Freewoman</i>, and Individual Expression","authors":"Thomas Haughton","doi":"10.3366/mod.2023.0401","DOIUrl":"https://doi.org/10.3366/mod.2023.0401","url":null,"abstract":"This article examines Dorothy Richardson’s engagement with The Freewoman’s discussion of women’s individuality. Of Marsden’s three periodicals, The Freewoman, the New Freewoman, and The Egoist, it is her final periodical that is best associated with Richardson’s work. It was in The Egoist that May Sinclair published her influential review of Richardson, which referred to Richardson’s style as ‘stream of consciousness’. However, Richardson’s most engaged interaction with the Marsden periodicals was actually The Freewoman. Indeed, Richardson’s Pilgrimage series represents a literary example of the periodical’s call for a new type of literature that depicts the individual’s unfiltered and uncensored thoughts.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of <i>Modernism at the Beach: Queer Ecologies & the Coastal Commons</i> by Hannah Freed-Thall","authors":"James Reath","doi":"10.3366/mod.2023.0405","DOIUrl":"https://doi.org/10.3366/mod.2023.0405","url":null,"abstract":"","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper argues for the importance of the alba, a medieval genre of courtly love poetry, to Ford Madox Ford's oeuvre and particularly to his tetralogy Parade's End. While the influence of troubadour songs and culture on Ford is widely recognised, no work has yet been devoted to the presence of the alba in his work. Describing a scene in which a knight and lady's adulterous love affair is interrupted by the coming of dawn, the alba invests daybreak with erotic and dramatic potential. Ford co-opts the conventions of this poetic form to illuminate and intensify one of the tetralogy's central themes: the analogy between love and war. In Parade's End daybreak repeatedly spells the interruption of the lovers' bliss and the end of the soldiers' vigil. The alba shows the motif to be key to the work's treatment of the love/war parallelism.
{"title":"‘The dawn, the dawn, it comes too soon!’: The Medieval Alba in Ford Madox Ford's Parade's End","authors":"Tali Banin","doi":"10.3366/mod.2023.0397","DOIUrl":"https://doi.org/10.3366/mod.2023.0397","url":null,"abstract":"This paper argues for the importance of the alba, a medieval genre of courtly love poetry, to Ford Madox Ford's oeuvre and particularly to his tetralogy Parade's End. While the influence of troubadour songs and culture on Ford is widely recognised, no work has yet been devoted to the presence of the alba in his work. Describing a scene in which a knight and lady's adulterous love affair is interrupted by the coming of dawn, the alba invests daybreak with erotic and dramatic potential. Ford co-opts the conventions of this poetic form to illuminate and intensify one of the tetralogy's central themes: the analogy between love and war. In Parade's End daybreak repeatedly spells the interruption of the lovers' bliss and the end of the soldiers' vigil. The alba shows the motif to be key to the work's treatment of the love/war parallelism.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86948586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay discusses two well-established medievalist sources for Finnegans Wake, French philologist Joseph Bédier’s Roman de Tristan et Iseut and Sir Edward Sullivan’s manuscript study The Book of Kells. Asking how Joyce interprets this material, the article establishes a relationship whereby the text strategically corrupts his sources to engender the experience of encountering a text as a philologist. By discussing the ideological commitments of these scholars, in particular Joseph Bédier, the essay posits that this philological experience has a democratizing effect: it inverts the nationalistic logic underpinning the discipline, evinced even in Bédier’s ‘best-text method’. Finnegans Wake’s own ‘worst-text method’, contrastingly, displays a commitment to re-envisioning and modifying readerly experience by renewing medieval textuality for a contemporary readership.
{"title":"The Philological Experience in Finnegans Wake","authors":"J. Green","doi":"10.3366/mod.2023.0395","DOIUrl":"https://doi.org/10.3366/mod.2023.0395","url":null,"abstract":"This essay discusses two well-established medievalist sources for Finnegans Wake, French philologist Joseph Bédier’s Roman de Tristan et Iseut and Sir Edward Sullivan’s manuscript study The Book of Kells. Asking how Joyce interprets this material, the article establishes a relationship whereby the text strategically corrupts his sources to engender the experience of encountering a text as a philologist. By discussing the ideological commitments of these scholars, in particular Joseph Bédier, the essay posits that this philological experience has a democratizing effect: it inverts the nationalistic logic underpinning the discipline, evinced even in Bédier’s ‘best-text method’. Finnegans Wake’s own ‘worst-text method’, contrastingly, displays a commitment to re-envisioning and modifying readerly experience by renewing medieval textuality for a contemporary readership.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"55 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79427496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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