Jean Rhys’s stories ‘Temps Perdi’ (1967), ‘I Spy the Stranger’ (1966), ‘A Solid House,’ (1963), and ‘The Insect World’ (1973) do not figure in current scholarship on Second World War fiction. Versions of the first three were offered for publication in 1946. Rhys began writing ‘The Insect World’ in the mid-1940s. Rhys’s perspective in the fiction is that of an expatriate white Creole from Dominica, an island with formative Indigenous and French and British imperial histories. Focusing on ‘The Insect World’, ‘I Spy a Stranger’, and ‘Temps Perdi’, I analyse Rhys’s representations of temporalities of memory, ruin, loss of bearings, and hallucination and draw out the distinctive significance of the complex allusive and political reach of the fiction.
Jean Rhys的小说《Temps Perdi》(1967)、《I Spy the Stranger》(1966)、《A Solid House》(1963)和《the Insect World》(1973)并没有出现在目前关于二战小说的学术研究中。前三个版本于1946年出版。里斯在20世纪40年代中期开始写《昆虫世界》。里斯在小说中的视角是一个来自多米尼加的白人克里奥尔人的视角，多米尼加是一个有着土著居民、法国和英国帝国历史的岛屿。我以《昆虫世界》、《我窥探一个陌生人》和《临时居所》为重点，分析了里斯对记忆、毁灭、迷失方向和幻觉的短暂性的表现，并得出了小说中复杂的暗示和政治影响的独特意义。
{"title":"‘Strange Growths’?: Jean Rhys’s Second World War Material","authors":"Sue Thomas","doi":"10.3366/mod.2023.0384","DOIUrl":"https://doi.org/10.3366/mod.2023.0384","url":null,"abstract":"Jean Rhys’s stories ‘Temps Perdi’ (1967), ‘I Spy the Stranger’ (1966), ‘A Solid House,’ (1963), and ‘The Insect World’ (1973) do not figure in current scholarship on Second World War fiction. Versions of the first three were offered for publication in 1946. Rhys began writing ‘The Insect World’ in the mid-1940s. Rhys’s perspective in the fiction is that of an expatriate white Creole from Dominica, an island with formative Indigenous and French and British imperial histories. Focusing on ‘The Insect World’, ‘I Spy a Stranger’, and ‘Temps Perdi’, I analyse Rhys’s representations of temporalities of memory, ruin, loss of bearings, and hallucination and draw out the distinctive significance of the complex allusive and political reach of the fiction.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"45 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85554382","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 What Was Literary Impressionism? by Michael Fried","authors":"Max Saunders","doi":"10.3366/mod.2023.0388","DOIUrl":"https://doi.org/10.3366/mod.2023.0388","url":null,"abstract":"","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"92 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79159362","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 Andrew Thacker, Modernism, Space and the City: Outsiders and Affect in Paris, Vienna, Berlin and London","authors":"Beci Carver","doi":"10.3366/mod.2022.0379","DOIUrl":"https://doi.org/10.3366/mod.2022.0379","url":null,"abstract":"","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"114 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77766070","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 Katherine Ebury, Modern Literature and the Death Penalty, 1890–1950","authors":"Mimi Lu","doi":"10.3366/mod.2022.0380","DOIUrl":"https://doi.org/10.3366/mod.2022.0380","url":null,"abstract":"","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86403153","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 W. H. Auden and Christopher Isherwood’s co-authored travelogue, Journey to a War (1939), as a product of the interwar global left culture, exemplified by the Popular Front campaign that spanned Europe and Asia (1936–1939). Set out to observe and report on the Sino-Japanese War (1937–1945), a less popular but more exotic alternative to the contemporaneous Spanish Civil War, the two writers found themselves caught in the impossible task of reconciling the ravages of war with images of Shangri-La that mediated Popular Front discourses on wartime China. Nonetheless, Auden and Isherwood’s difficult negotiations with Orientalist discourses also made the text a generative site for translations, exchanges and appropriations. This essay offers an account of the travelogue’s composition and contemporary reception in China, how it became a composite, mobile text.
本文考察了w·h·奥登和克里斯托弗·伊舍伍德合著的游记《战争之旅》(Journey to a War, 1939)，作为两次世界大战之间全球左翼文化的产物，以横跨欧洲和亚洲的人民阵线运动(1936-1939)为代表。这两位作家开始观察和报道中日战争(1937-1945)，这是同时期西班牙内战的另一种不那么受欢迎但更具异国情调的选择，他们发现自己陷入了一项不可能完成的任务，即调和战争的破坏与香格里拉的图像，后者调解了人民阵线关于战时中国的话语。尽管如此，奥登和伊舍伍德与东方主义话语的艰难谈判也使文本成为翻译、交流和挪用的生成场所。这篇文章提供了一个游记的组成和当代接受在中国，它是如何成为一个复合的，流动的文本。
{"title":"Shangri-La on the Popular Front: ‘China’, the Global Left, and Auden and Isherwood’s Journey to a War","authors":"Julia Chan","doi":"10.3366/mod.2022.0376","DOIUrl":"https://doi.org/10.3366/mod.2022.0376","url":null,"abstract":"This article examines W. H. Auden and Christopher Isherwood’s co-authored travelogue, Journey to a War (1939), as a product of the interwar global left culture, exemplified by the Popular Front campaign that spanned Europe and Asia (1936–1939). Set out to observe and report on the Sino-Japanese War (1937–1945), a less popular but more exotic alternative to the contemporaneous Spanish Civil War, the two writers found themselves caught in the impossible task of reconciling the ravages of war with images of Shangri-La that mediated Popular Front discourses on wartime China. Nonetheless, Auden and Isherwood’s difficult negotiations with Orientalist discourses also made the text a generative site for translations, exchanges and appropriations. This essay offers an account of the travelogue’s composition and contemporary reception in China, how it became a composite, mobile text.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88196016","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}
John Lehmann was one of the most influential figures to emerge in 1930s British literary life, with his editorial work at venues such as New Writing and the Hogarth Press connecting him to many of the key cultural networks of the era. During the Second World War he was blocked from staff roles in intelligence and information agencies, but still managed to undertake a range of broadcasting for the BBC. Drawing on the archives of MI5, the BBC, and the Political Warfare Executive, this article sheds new light on Lehmann's war work and the often-covert debates occurring between agencies as they assessed Lehmann's potential for such work. Through this, this article shows how tensions over politics, sexuality, and class affected Lehmann's access to the BBC, and more broadly it illustrates the roles of state security and propaganda agencies in the recruitment of prominent authors to new wartime broadcasting networks.
{"title":"Surveillance, Security, and Wartime Propaganda: John Lehmann at the BBC","authors":"James Smith","doi":"10.3366/mod.2022.0377","DOIUrl":"https://doi.org/10.3366/mod.2022.0377","url":null,"abstract":"John Lehmann was one of the most influential figures to emerge in 1930s British literary life, with his editorial work at venues such as New Writing and the Hogarth Press connecting him to many of the key cultural networks of the era. During the Second World War he was blocked from staff roles in intelligence and information agencies, but still managed to undertake a range of broadcasting for the BBC. Drawing on the archives of MI5, the BBC, and the Political Warfare Executive, this article sheds new light on Lehmann's war work and the often-covert debates occurring between agencies as they assessed Lehmann's potential for such work. Through this, this article shows how tensions over politics, sexuality, and class affected Lehmann's access to the BBC, and more broadly it illustrates the roles of state security and propaganda agencies in the recruitment of prominent authors to new wartime broadcasting networks.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85106454","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 looks at the presence of Monte Carlo in two neglected texts: H.D.’s short story ‘Mira-Mare’ (1934) and her close friend Robert Herring’s novel Cactus Coast (1934). Read alongside autobiographical essays and archival correspondence, a rich dialogue forms between H.D. and Herring’s texts, which narrates the inner workings of the POOL group. I argue for the consideration of ‘Mira-Mare’ and Cactus Coast as POOL texts, as they document crucial moments that shaped POOL’s networks of queer intimacy and engage with POOL’s central questions of identity and relationality. Written by two central members of the POOL group’s network, ‘Mira-Mare’ and Cactus Coast were supported by the same funds, editorial presence, and printer as POOL’s labelled outputs. By tracing the connections between H.D. and Herring’s texts, further insight into the POOL group’s activity can be mapped, positioning Monte Carlo as a crucial locus within POOL’s artistic production.
{"title":"A Tale of Two Coasts: H.D.’s ‘Mira-Mare’ and Robert Herring’s Cactus Coast","authors":"Polly Hember","doi":"10.3366/mod.2022.0378","DOIUrl":"https://doi.org/10.3366/mod.2022.0378","url":null,"abstract":"This article looks at the presence of Monte Carlo in two neglected texts: H.D.’s short story ‘Mira-Mare’ (1934) and her close friend Robert Herring’s novel Cactus Coast (1934). Read alongside autobiographical essays and archival correspondence, a rich dialogue forms between H.D. and Herring’s texts, which narrates the inner workings of the POOL group. I argue for the consideration of ‘Mira-Mare’ and Cactus Coast as POOL texts, as they document crucial moments that shaped POOL’s networks of queer intimacy and engage with POOL’s central questions of identity and relationality. Written by two central members of the POOL group’s network, ‘Mira-Mare’ and Cactus Coast were supported by the same funds, editorial presence, and printer as POOL’s labelled outputs. By tracing the connections between H.D. and Herring’s texts, further insight into the POOL group’s activity can be mapped, positioning Monte Carlo as a crucial locus within POOL’s artistic production.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"16 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82693877","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 analyses a strain of modern classicism other than the high modernist classicism of Hulme, Pound, and Eliot. Its practitioners were middlebrow writers associated with the newspaper columns and ‘smart magazines’ thriving in New York City during the 1910s and 1920s. Led by the columnist, popular poet, and Algonquin Round Table fixture, Franklin P. Adams, ‘smart classicism’ took its inspiration from ancient Rome's elegists, satirists, and epigrammatists. Adams's smart classicist poems complicate current accounts of early twentieth-century American poetry, of modern(ist) classicism, and of the literary legacy of the smart writers and the Round Table. Dorothy Parker's poetic rejoinders to smart classicism re-gender the masculinist speakers and attitudes of Adams's light verse – and the verse of the ancient poets he emulates and translates. This contextualisation clarifies neglected aspects of Parker's poetic achievements: her erudition, critiques of literary gender politics ancient and modern, and role in articulating a female counterpart to the smart magazines’ suffering Little Man figure.
{"title":"Re-gendering Smart Classicism: Franklin P. Adams, Dorothy Parker, and the Middlebrow Classical Verse Revival","authors":"Paul Peppis","doi":"10.3366/mod.2022.0369","DOIUrl":"https://doi.org/10.3366/mod.2022.0369","url":null,"abstract":"This essay analyses a strain of modern classicism other than the high modernist classicism of Hulme, Pound, and Eliot. Its practitioners were middlebrow writers associated with the newspaper columns and ‘smart magazines’ thriving in New York City during the 1910s and 1920s. Led by the columnist, popular poet, and Algonquin Round Table fixture, Franklin P. Adams, ‘smart classicism’ took its inspiration from ancient Rome's elegists, satirists, and epigrammatists. Adams's smart classicist poems complicate current accounts of early twentieth-century American poetry, of modern(ist) classicism, and of the literary legacy of the smart writers and the Round Table. Dorothy Parker's poetic rejoinders to smart classicism re-gender the masculinist speakers and attitudes of Adams's light verse – and the verse of the ancient poets he emulates and translates. This contextualisation clarifies neglected aspects of Parker's poetic achievements: her erudition, critiques of literary gender politics ancient and modern, and role in articulating a female counterpart to the smart magazines’ suffering Little Man figure.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89713917","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 Nancy Cunard's later writing on Spain as a direct legacy of her previous projects as a modernist poet, publisher and black rights activist. Cunard was a rare analyst of the links between total war, colonial counter-insurgency, and cultural destruction. Noting the desire of both the air power theorist and art collector to stereotype peoples, from Morocco to Ethiopia to Spain, as ‘primitive’, the article brings original archival materials from Cunard's notes into dialogue with her journalism, and published and unpublished poetry, to examine how she reclaimed and repurposed primitivism. Her poems devise a metonymic and palimpsestic literary geopolitics, juxtaposing fragments from ancient cultures atop one another to argue, simultaneously, for Spain's essential dignity as both a primitive and a civilised nation. Cunard reconciles Spain's liminal status, between Africa and Europe, to argue for Spain's art, and people, as part of a syncretic, universal human cultural heritage, anticipating the art humanitarianism of organisations such as UNESCO.
{"title":"Bombing Cultural Heritage: Nancy Cunard, Art Humanitarianism, and Primitivist Wars in Morocco, Ethiopia, and Spain","authors":"Ameya Tripathi","doi":"10.3366/mod.2022.0368","DOIUrl":"https://doi.org/10.3366/mod.2022.0368","url":null,"abstract":"This article examines Nancy Cunard's later writing on Spain as a direct legacy of her previous projects as a modernist poet, publisher and black rights activist. Cunard was a rare analyst of the links between total war, colonial counter-insurgency, and cultural destruction. Noting the desire of both the air power theorist and art collector to stereotype peoples, from Morocco to Ethiopia to Spain, as ‘primitive’, the article brings original archival materials from Cunard's notes into dialogue with her journalism, and published and unpublished poetry, to examine how she reclaimed and repurposed primitivism. Her poems devise a metonymic and palimpsestic literary geopolitics, juxtaposing fragments from ancient cultures atop one another to argue, simultaneously, for Spain's essential dignity as both a primitive and a civilised nation. Cunard reconciles Spain's liminal status, between Africa and Europe, to argue for Spain's art, and people, as part of a syncretic, universal human cultural heritage, anticipating the art humanitarianism of organisations such as UNESCO.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"51 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86911248","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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