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A historical past of the Modernist Novel reassesses the modernist canon and produces a wealth of recent comparative analyses that considerably revise the novel's heritage. Drawing on American, English, Irish, Russian, French, and German traditions, major students problem current attitudes approximately realism and modernism and draw new recognition to daily life and daily gadgets. as well as its exploration of recent types comparable to the modernist style novel and experimental old novel, this e-book considers the radical in postcolonial, transnational, and cosmopolitan contexts. A historical past of the Modernist Novel additionally considers the novel's worldwide achieve whereas suggesting that the epoch of modernism isn't but entire.

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B. Yeats, 2nd ed (New York: Macmillan, 1983, 1989), 198. 57. See Susan Stanford Friedman, “Periodizing Modernism: Postcolonial Modernities and the Space/Time Borders of Modernist Studies,” Modernism/Modernity 13 (September 2006): 425–43; Douglas Mao and Rebecca L. , Geomodernisms: Race, Modernism, Modernity (Bloomington: Indiana University Press, 2005). 58. Terry Eagleton, Heathcliff and the Great Hunger: Studies in Irish Culture (London and New York: Verso, 1995), 276, 58. 59. Yeats, “The Statues,” in The Poems, 345.

Ed. (London: Macmillan, 1877). On impressionism, see Jesse Matz, Literary Impressionism and Modernist Aesthetics (Cambridge: Cambridge University Press, 2001); and Max Saunders, “Literary Impressionism,” in A Companion to Modernist Literature and Culture, eds. David Bradshaw and Kevin J. H. Dettmar (Malden, MA: Blackwell, 2006), 204–11. 44. Cited in Armstrong, in this volume. James attributes this phrase to “a Danish thinker” whom his editors identify as Søren Kierkegaard. 45. Marcel Proust, “Le Pouvoir du Romancier” in Contre Sainte-Beuve, Pastiches et Mélanges, Essais et Articles, eds.

The lacerating minimalism of Beckett’s prose (which is, nevertheless, full to brimming with lyrical voices) weaves along and beside the carnivalesque lunacy of Flann O’Brien (which is no less lacerating), while grand myth making lies side by side with pedantic “essayism” in Thomas Mann. We see the subtle formal and stylistic ironies of Bowen and Kate O’Brien as well as the blunt-edged vamping that takes Faulkner’s genre novels into the age of mechanical reproduction. And we see generally a return to realism and the matter of the world of representation in ways that echo the practices of early modernists who sought to overcome a false divide between modernism and realism, between the world of artistic expression and the world of representation, between ideal beauty and its downfall.

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