Before Modernism Was: Modern History and the Constituency of by G. Gilbert

By G. Gilbert

Ahead of Modernism was once areas modernist writing in the texture of contemporary background. Texts through Woolf, James, Freud, Wyndham Lewis, Stein, Malinowski, and others are learn via various figures that build and disrupt glossy that means: the ghost that is affecting the price of your own home; the sulky, graceless adolescent; the Pole who will not be Polish; the fearful proprietor of the puppy; the addict and her smoke. Eccentric to its associations, those figures are principal to the constituency of modernism.

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He] produces nothing" - [Pender's wife] hesitated a moment- "nothing that he can use or sell"'. The fear is economic. 'Unless something competent is done, he will simply starve to death'; starve to death, and lose his hold on the house. 32 The story investigates a problem of value, then, but not a simple one. It covertly admires this new production, considering it 'most damnably clever in the consummate way the vile suggestions are insinuated under cover of high drollery'. These 'vile, debased tragedies, the tragedies of broken souls', products of 'the kind of bad imagination that so far has been foreign, indeed impossible, to [Pender's] normal nature', and productive of laughter that is 'bizarre, horrible, disturbing', 33 in their effectiveness, their ability to evince a different sort of response from the reader, are rather a challenge to than an evacuation of Pender's sense of literary value.

It covertly admires this new production, considering it 'most damnably clever in the consummate way the vile suggestions are insinuated under cover of high drollery'. These 'vile, debased tragedies, the tragedies of broken souls', products of 'the kind of bad imagination that so far has been foreign, indeed impossible, to [Pender's] normal nature', and productive of laughter that is 'bizarre, horrible, disturbing', 33 in their effectiveness, their ability to evince a different sort of response from the reader, are rather a challenge to than an evacuation of Pender's sense of literary value.

Swinburne into the shadows; and now, indeed, the whole Round Table is dissolved'. 53 The problem is to find a presence to replace this legendary dissolution. That is The English Review's conscious literary purpose: to find and encourage a new literary voice. But when that new voice appears, it is difficult to characterise. When Edward Thomas reviews Pound's Personae the review is appreciative, even excited, but he finds it possible only: 36 Before Modernism Was [t]o say what [Pound] has not. [..

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