Pacific Rim Modernisms explores the complex ways that writers, artists, and intellectuals of the Pacific Rim have contributed to modernist culture, literature, and identity.

Featuring the latest research findings and exploring the fascinating interplay of modernist authors and intellectual luminaries, from Beckett and Kafka to Derrida and Adorno, this bold new collection of essays gives students a deeper grasp of key texts in modernist literature. Provides a wealth of fresh perspectives on canonical modernist texts, featuring the latest research data Adopts an original and creative thematic approach to the subject, with concepts such as race, law, gender, class, time, and ideology forming the structure of the collection Explores current and ongoing debates on the links between the aesthetics and praxis of authors and modernist theoreticians Reveals the profound ways in which modernist authors have influenced key thinkers, and vice versa

Emile Zola's reputation as a landmark European novelist is undisputed. His monumental achievement, the novel cycle Les Rougon-Macquart: Histoire sociale et naturelle d'une famille sous le Second Empire (1871-1893), fixed his status as a major writer in the naturalist tradition. Is there any more to be said? Susan Harrow answers boldly in the affirmative, challenging the commonplace view that Zola's writing is predictable, prolix and transparent (what Barthes called 'readerly', for which read 'tedious'). Harrow exposes the modernist and postmodernist strategies which surface in the Rougon-Macquart novels, and reveals Zola's innovatory representation of the body captured here at work, at war, at play, at rest, and in arresting abstraction. Informed by critical thought from Barthes and Deleuze to Michel de Certeau and Anthony Giddens, Zola, the Body Modern offers a model for how we can revitalize our understanding of the canonical nineteenth-century European novel, and learn to travel more flexibly between parameters of century, style and aesthetics.

What is the role of the author in times of crisis? Modernist Crisis and the Pedagogy of Form examines how Virginia Woolf, Samuel R. Delany, and J. M. Coetzee developed literary strategies in common to cope with crisis periods they were anticipating, living through, or looking back on. Matthew Cheney outlines how the three writers shaped their art to create an author/audience relationship congruent with the goals of critical pedagogy espoused by such thinkers as Paulo Freire and bell hooks. Seeking to stimulate ethical thought, Woolf, Delany, and Coetzee required their readers to be active interpreters of their texts' forms, contents, and contexts. By pushing against fiction's fictionality, these writers of very different backgrounds, geographies, privileges, situations, tastes, and styles discovered complex ways to address the world wars in England, the AIDS crisis in New York, and apartheid in South Africa, going so far as to question the value of fiction itself.

In The Edge of Modernism, Walter Kalaidjian explores American poetry on genocide, the Holocaust, and total war as well as on postwar social antagonisms, racial oppression, and domestic violence. By asking what it means for traumatic memory to have agency in the American verse tradition, Kalaidjian creates an original historical account of how American poets became witnesses, often unconsciously, to modern extremity. Combining psychoanalytic theory and cultural studies, this intense, sweeping account of modern poetics analyzes the ways in which literary form gives testimony to the trauma of twentieth-century history. Through close readings of well-known and less familiar poets—among them Langston Hughes, Countee Cullen, Claude McKay, Edwin Rolfe, Sylvia Plath, Adrienne Rich, Peter Balakian, Rachel Blau DuPlessis, Anne Sexton, and Anthony Hecht—Kalaidjian discerns the latent "edge" of modern trauma as it cuts through the literary representations, themes, and formal techniques of twentieth-century American poetics. In this way, The Edge of Modernism advances an innovative and dynamic model of modern periodization.

Translocated Modernisms is a collection of ten chapters partitioned into sections and framed by an introduction by the editors and a coda by Kit Dobson, which is interested in those who thronged to the vibrant streets, cafés, and salons of Montparnasse, those who stayed such as Brion Gysin and Mavis Gallant, those who returned “home” such as Morley Callaghan, John Glassco, David Silverberg, and Sheila Watson, and those who galvanized local cultural practices by appropriating and translating them from elsewhere. While for some Paris becomes a permanent home, for others, it is simply a temporary excursion which can last for months, or for many years. The collection opens up the Lost Generation to include multiple generations and broadens its ambit to encompass modernist writers placed under erasure by dominant narratives of Anglo-American modernism. Instead of limiting the category to a single group based on a collective identity, this volume considers lost generations as a particular type of modernist identity attributable to multiple and disparate collectivities. These lost generations include those excluded from canonical narrativizations of expatriate modernisms, among which we spy the glimmer of other modernists living in the shadows of luminaries long recognized in the Anglo-American tradition.

Time, Tide and History: Eleanor Dark’s Fiction is the first book-length edited collection of scholarly essays to treat the full span of Eleanor Dark’s fiction, advancing a recent revival of critical and scholarly interest in Dark’s writing. This volume not only establishes a new view of Dark’s fiction as a whole, but also reflects on the ways in which her fiction speaks to our present moment, in the context of a globally fraught, post-pandemic, Anthropocene era. Above all, the revisiting of Dark’s fiction is mandated by a desire to recognise the ways in which it anticipates vital debates in Australian literary and national culture today, about settler colonialism and its legacies, and with regard to the histories, condition and status of Australia’s First Nations people. This volume interweaves varied topical themes, from formal debates about modernism, historical realism and melodrama, to questions about modernity’s time and space, about gender and cultural difference, and about the specifics of built and natural environments. Time, Tide and History intentionally loosens the conventions of literary scholarship by including other kinds of work alongside critical and scholarly readings: a written dialogue between two contemporary historians about Dark’s legacy, and a biographical piece on the life and role of Eleanor Dark’s husband, Eric Payten Dark. Bringing together the interwar fiction’s feminist and modernist dimensions with the historical turn of The Timeless Land trilogy, the essays in Time, Tide and History collectively pursue ethical and political questions while teasing out the distinctive thematic, formal and aesthetic features of Dark’s fiction.