Late Modernism: Politics, Fiction, and the Arts between the World Wars 1st Edition by Tyrus Miller (PDF)

Description

Tyrus Miller breaks new ground in this study of early twentieth-century literary and artistic culture. Whereas modernism studies have generally concentrated on the vital early phases of the modernist revolt, Miller focuses on the turbulent later years of the 1920s and 1930s, tracking the dissolution of modernism in the interwar years.In the post-World War I reconstruction and the worldwide crisis that followed, Miller argues, new technological media and the social forces of mass politics opened fault lines in individual and collective experience, undermining the cultural bases of the modernist movement. He shows how late modernists attempted to discover ways of occupying this new and often dangerous cultural space. In doing so they laid bare the ruin of the modernist aesthetic at the same time as they transcended its limits.In his wide-ranging theoretical and historical discussion, Miller relates developments in literary culture to tendencies in the visual arts, cultural and political criticism, mass culture, and social history. He excavates Wyndham Lewis’s hidden borrowings from Al Jolson’s The Jazz Singer; situates Djuna Barnes between the imagery of haute couture and the intellectualism of Duchamp; uncovers Beckett’s affinities with Giacometti’s surrealist sculptures and the Bolshevik clowns Bim-Bom; and considers Mina Loy as both visionary writer and designer of decorative lampshades. Miller’s lively and engaging readings of culture in this turbulent period reveal its surprising anticipation of our own postmodernity.

User’s Reviews

Reviews from Amazon users which were colected at the time this book was published on the website:

⭐This book, very puzzling. I read last night on way back from very excellent smorgasborg dinner at friend house. He make extra fine meatloaf with bread and also butter. I never so full. In all my life, I say, and very happy too. So then what? I read book. So depressing, you see. Mr. Tyrus Miller, he crack open modernism like rotten coconut and pour out spoiled milk for all to see. Now I am so sick and in pain, surely I die soon.

⭐I was first drawn to this book while waiting for my paramour outside of a popular but nameless Manhattan bookstore. She was late, as always, and to kill the time I skimmed the remainder bins, where some untutored storeclerk had remorselessly dumped several copies of Miller’s “Late Modernism.” Was it the light winter breeze against my exposed neck, or Miller’s icy analytical touch, as he claws his way through the work of Barnes, Joyce, and Brothers that produced that uncanny frisson of feeling I felt as I turned from page to page? Who can say. Clearly Miller has fulfilled the wish of Eliot’s Prufrock, and we as readers feel compelled, altogether willingly, to scuttle silently across the pages of “Late Modernism.” Reviewers on the book’s jacket had promised readers a “crabbed journey through the unnoticed grottoes of late modernism, and at the same time, a forward walking approach to literary theory.” Miller delivers. As Miller suggests, form and content can be conceived against the legendary late modernist binary of the shell and the inside, and with Miller’s unrelenting hermenuetic in hand, we as readers become the recipients of the most succulent morsels of this most crustaceous period in Western literature. Miller casts his nets wide, revealing the fallacy of the classic distinction between the figurative and the littoral, which in recent criticism of this period has become something of a red herring. In the end, we recognize as readers what Miller has apparently known all along: that the crabs of modernism outnumber those of any cheap hotel.

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