A History of the Modernist Novel by Gregory Castle

By Gregory Castle

A background of the Modernist Novel reassesses the modernist canon and produces a wealth of latest comparative analyses that notably revise the novel's heritage. Drawing on American, English, Irish, Russian, French, and German traditions, best students problem current attitudes approximately realism and modernism and draw new consciousness to lifestyle and daily gadgets. as well as its exploration of recent varieties akin to the modernist style novel and experimental ancient novel, this publication considers the radical in postcolonial, transnational, and cosmopolitan contexts. A heritage of the Modernist Novel additionally considers the novel's worldwide achieve whereas suggesting that the epoch of modernism isn't but complete.

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Brooke acknowledges that the quotation from Valmouth looks like “an elaborate pastiche” of “Ouida” (Maria Louise Ramé), whose overwritten novels and implausible plots caused a sensation half a century before (RF 15). Brooke, too, acknowledges that Firbank had a distinctly “ninetyish sensibility” that reveals the influence of illustrator Aubrey Beardsley’s only novel, the exquisitely written Under the Hill, which was later issued – in an edition that reproduced the intensely erotic original manuscript version – as The Story of Venus and Tannhäuser (RF 11, 16).

Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin, TX: University of Austin Press, 1981), 3, 31. 4. Chris Baldick, The Modern Movement: 1910–1940, vol. 10 of The Oxford English Literary History (Oxford: Oxford University Press, 2004), 5. 5. , 160. 6. , 196. , chapters 7–9 and 391–401. 7. , Fredric Jameson, who speaks of modernism and postmodernism as “two chronological sequels to the moment of realism” in The Antinomies of Realism (London: Verso, 2013), 11. 8. Virginia Woolf, A Writer’s Diary, ed.

The transition from the heyday of nineteenth-century realist fiction to the bold innovations of the early modernist novel has been a cornerstone in our understanding of the emergence of modernism. As we have seen in Part I, early modernism was a time of widespread reassessment of what actually constituted the “real” and “reality” and how this reassessment was expressed in novelistic terms. Part II continues this exploration, with an emphasis on the reassessment of realism itself, which is perhaps the most important feature of transition in early modernism.

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