In Modernism the Morning After, Bob Perelman scrutinizes a number of long-held modernist dogmas in order to articulate a more capacious model for thinking about modernism-past, present, and future. Throughout his career, Perelman has focused on the persistence of modernist ambition in poetry, with all of its admirable articulations and tragicomic short-circuits. Poetry, it turns out, is not simply "news that stays news," as Ezra Pound postulated. Instead, as Perelman demonstrates, poetry often gropes toward whatever news can be found in the broader contexts of public speech-the cultural commons, the almost-real or much-too-real language of people and our hyperactive media. Book jacket.

The literature of the contemporary South might best be understood for its discontinuity with the literary past. At odds with traditions of the Southern Renascence, southern literature of today sharply refutes the Nashville Agrarians and shares few of Faulkner's and Welty's concerns about place, community, and history. This sweeping study of the literary South's new direction focuses on nine well established writers who, by breaking away from the firmly ensconced myths, have emerged as an iconoclastic generation- -- Harry Crews, Dorothy Allison, Bobbie Ann Mason, Larry Brown, Kaye Gibbons, Randall Kenan, Richard Ford, Cormac McCarthy, and Barry Hannah. Resisting the modernist methods of the past, they have established their own postmodern ground beyond the shadow of their predecessors. This shift in authorial perspective is a significant indicator of the future of southern writing. Crews's seminal role as a ground-breaking "poor white" author, Mason's and Crews's portrayals of rural life, and Allison's and Brown's frank portrayals of the lower class pose a challenge to traditional depictions of the South. The dissenting voices of Gibbons and Kenan, who focus on gender, race, and sexuality, create fiction that is at once identifiably "southern" and also distinctly subversive. Gibbons's iconoclastic stance toward patriarchy, like the outsider's critique of community found in Kenan's work, proffers a portrait of the South unprecedented in the region's literature. Ford, McCarthy, and Hannah each approach the South's traditional notions of history and community with new irreverence and treat familiar southern topics in a distinctly postmodern manner. Whether through Ford's generic consumer landscape, the haunted netherworld of McCarthy's southern novels, or Hannah's riotous burlesque of the Civil War, these authors assail the philosophical and cultural foundations from which the Southern Renascence arose. Challenging the conventional conceptions of the southern canon, this is a provocative and innovative contribution to the region's literary study.

This is a brilliant, provocative long essay on the rise and fall and survival of modernism, by the English-languages' greatest living cultural historian.

Ezra Pound referred to 1922 as Year One of a new era. It was the year that began with the publication of James Joyce's Ulysses and ended with the publication of T. S. Eliot's The Waste Land, two works that were arguably "the sun and moon" of modernist literature, some would say of modernity itself. In Constellation of Genius, Kevin Jackson puts the titanic achievements of Joyce and Eliot in the context of the world in which their works first appeared. As Jackson writes in his introduction, "On all sides, and in every field, there was a frenzy of innovation." It is in 1922 that Hitchcock directs his first feature; Kandinsky and Klee join the Bauhaus; the first AM radio station is launched; Walt Disney releases his first animated shorts; and Louis Armstrong takes a train from New Orleans to Chicago, heralding the age of modern jazz. On other fronts, Einstein wins the Nobel Prize in Physics, insulin is introduced to treat diabetes, and the tomb of Tutankhamun is discovered. As Jackson writes, the sky was "blazing with a ‘constellation of genius' of a kind that had never been known before, and has never since been rivaled." Constellation of Genius traces an unforgettable journey through the diaries of the actors, anthropologists, artists, dancers, designers, filmmakers, philosophers, playwrights, politicians, and scientists whose lives and works—over the course of twelve months—brought a seismic shift in the way we think, splitting the cultural world in two. Was this a matter of inevitability or of coincidence? That is for the reader of this romp, this hugely entertaining chronicle, to decide.

This anthology provides a guide to the Modernist movement in literature. Covering intellectual concerns of the period 1850-1940, it draws on contemporary essays, reviews, articles and manifestos of the political and aesthetic avant-garde.

Modernist Objects: Literature, Art, Culture is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of modernist objects. Contributors explore the many tensions surrounding the modernist relationship to objects, things, products and artefacts through the prism of poetry, prose, visual arts, culture and crafts.

This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, technological and psychological change. How does the body's sense of its own movement shift when confronted with modernist film? How might travel by motorcar disorientate one sufficiently to bring about an existential crisis? If the body is made of divisible atoms, what work can it do to slow the fleeting moment of modernist life? The answers to all these questions and many more can be found in the work of four major writers of the modernist canon - James Joyce, Virginia Woolf, D. H. Lawrence and Dorothy Richardson. They suggest that haptic experience is at the heart of existence in the early twentieth century, and each displays a fascination with the elusive sense of touch. Yet these writers go further, undertaking formal experiments which enable their own writing to provoke a haptic response in their readers. By defining the haptic, and by looking at its role in the work of these major names of modernist writing, this book opens up the field of literary studies to the promise of a haptic-oriented analysis, identifying a rich seam of literary work we can call 'haptic modernism'.