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By Jane Goldman

Modernism, 1910-1945 explores and celebrates the increase and improvement of modernist and avant-garde literatures and theories of this actual interval, from Imagism to the Apocalypse move. Jane Goldman charts transitions in writing, examining, acting and publishing practices, and in foreign groupings and regroupings of writers and artists, and engages with, in addition to unsettles, the retrospective and homogenizing time period Modernism that labels the period. Goldman introduces scholars to the paintings of many canonical excessive modernist writers, equivalent to Ezra Pound, T.S. Eliot and Virginia Woolf, in addition to to the paintings of different very important modernist figures, corresponding to Nathanael West, Kurt Schwitters and the Harlem Renaissance poets.

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Additional resources for Modernism, 1910-1945: Image to Apocalypse (Transitions - Palgrave Macmillan)

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Virginia Woolf, 1924) This page intentionally left blank 2 Literature after 1910 Formalism, the Visual Arts and Cultural Change Introduction to Part I and Chapter 2 Part I, which begins with this chapter, examines the significance of 1910 and the context of cultural change in the wider period. 1910 is not merely another date on the calendar, an arbitrary historical marker, it is a site of potent cultural myth, the myth of sudden historical and cultural change itself. It also marks the birth of formalist theory for the modern era.

When you wet the bed first it is warm then it gets cold. His mother put on the oilsheet. That had the queer smell. (5) It appears that both the opening and closing passages of Joyce’s Portrait, then, contribute as points of departure for West’s opening to The Dream Life of Balso Snell. Just as Joyce’s text is punctuated by song so West also has Balso break into song as he enters the “foyerlike lower intestine” of the Trojan Horse. Whereas Joyce (just as he cites Ovid, an authentic classical source, in his epigraph to Portrait) here uses a snatch of a “real” citation plundered from a “traditional” cultural source (folk song), West, on the other hand, constructs a song from more recent, avant-garde sources: To keep his heart high and yet out of his throat, he made a song.

Just as Alice escapes through the looking glass, Balso Snell escapes the real world by entering the Wooden Horse of the Greeks which he finds in the tall grass surrounding the walls of Troy” (397). The status of the “real world”, however, is undermined by the comedic assumption of a real location for the Trojan Horse, and the idea of escape from the world is itself signalled by the citation of Baudelaire’s poem “Anywhere Out of this World”, presumably already out of this world if we follow this line of logic.

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