By G. Gilbert
Earlier than Modernism was once locations modernist writing in the texture of recent historical past. Texts by means of Woolf, James, Freud, Wyndham Lewis, Stein, Malinowski, and others are learn via more than a few figures that build and disrupt smooth which means: the ghost that has effects on the price of your own home; the sulky, graceless adolescent; the Pole who will not be Polish; the frightened proprietor of the puppy; the addict and her smoke. Eccentric to its associations, those figures are imperative to the constituency of modernism.
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Extra info for Before Modernism Was: Modern History and the Constituency of Writing
A prophecy of [financial] disaster'. 48 Douglas Goldring, Hueffer's assistant, describing the care with which Hueffer and Joseph Conrad worked and reworked the statement of the journal's mission- which Violet Hunt called 'that sweet and fatuous circular' -complained that 'with my experience of "commercial journalism" gained in the well-run office of Country Life, it all seemed rather babyish'. '50 But the exemption from market rationalities, where rights and positions are maintained 'in spite of' the market, and where the autonomous is posited against the curious system of the mediated, is not conceived only for art's sake.
38 The question - for Lukacs, for Clark, and for the rest of this introduction - is whether this embarrassing moment describes also a social arrangement and a productivity in the world, and thus whether we lose a resource for social imagination, in writing modernism off. Sudden brothers Like Woolf, Katherine Mansfield finds a disturbing nakedness gathering around Dostoevsky, but for her the mechanisms of disrobing are less enigmatic. She argues that there is good reason to be defensively casual around Dostoevsky, to take him superficially, as a way of parrying his shock: For if we do not take him superficially, there is nothing to do but to take him terribly seriously, but to consider whether it is possible for us to go on writing our novels as if he had never been.
The novel plots the movements of a fortune based on a drug, 'Tono Bungay', described as 'nothing coated in advertisements' which is the- absentcentre of an advertising and financial industry. 55 Riches proliferate through this wild gamble, but they will not consolidate. Specifically, the house the newly paper-wealthy protagonist attempts to build sprawls and hesitates and will not take form. '(Financiers] all seem to bring their luck to the test of realization, try to make their fluid opulence coagulate out as bricks and mortar.