Modernist Literature: An Introduction

Modernist Literature Modernist Literature An Introduction Mary Ann Gillies and Aurelea Mahood Edinburgh University Press © Mary Ann Gillies and Aurelea Mahood, 2007 Edinburgh University Press Ltd 22 George Square, Edinburgh Edited and typeset by the authors. Printed and bound in Great Britain by Cromwell Press, Trowbridge, Wilts A CIP record for this title is available from the British Library ISBN 978 0 7486 2763 9 (hardback) ISBN 978 0 7486 2764 6 (paperback) The right of Mary Ann Gillies and Aurelea Mahood to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. CONTENTS Acknowledgments vi Introduction After Victoria 1 Chapter 1 The Short Story and the New Woman 22 Chapter 2 Poetry—Technology and War 61 Chapter 3 The Novel and Modern Fashions 97 Chapter 4 Documenting the Politics of Engagement 131 A Literary Coda In the Midst of War 161 Bibliography 198 Index 208 ACKNOWLEDGMENTS No book is ever written without support and encouragement. We would like to thank the following people for providing us with just that and so much more. John Whatley, who suggested that we embark on this project in the first place. Jackie Jones, our wonderful editor at Edinburgh University Press, whose belief in this book meant that it saw the light of day. The many professionals at Edinburgh University Press who assisted in the transition of the manuscript to finished book, especially James Dale, Ian Davidson, Máiréad McElligott, Stuart Midgley, and Esmé Watson. Dania Sheldon, who compiled the index. Bev Neufeld, for assisting us with various formatting issues at a crucial moment. Sheila Roberts, who graciously agreed to proofread a penultimate draft of the book at very short notice. John Pierce, Diane Gibson, Peggy Lacasse, and Mary Ann’s other colleagues in the Dean of Arts and Social Sciences Office at Simon Fraser University whose ongoing support of her research, despite the fact that it takes time away from faculty business, is invaluable. Andrew Klobucar and Rick Appel, for listening when Aurelea was working through the many stages of revision. Denise and Brent Mahood and Anneliesa Bush, who reminded Aurelea to go outside during the rewrites. Finally, we would like to thank our students, at Simon Fraser University and elsewhere, whose love of modernist literature continues to inspire us. We dedicate this book to them. vi INTRODUCTION AFTER VICTORIA As Lucy Tantamount dryly observes to Walter Bidlake in Aldous Huxley’s Point Counter Point (1928), ‘Living modernly’s living quickly.’ 1 The scene is not simply an example of disaffected banter between a pair of lovers; it is a skirmish between opposing viewpoints. In Lucy’s estimation, Walter is anything but up-to-date. She is of the opinion that Walter thinks in ‘an absurdly unmodern way about everything.’ 2 He does not understand that [y]ou can’t cart a wagon-load of ideals and romanticisms with you these days. When you travel by aeroplane, you must leave your heavy baggage behind. The good old-fashioned soul was all right when we lived slowly. But it’s too ponderous nowadays. There’s no room for it in the aeroplane. 3 With its attention to speed and rejection of the past, Lucy’s jeering declaration is striking for at least two reasons. First, it suggests the highly self-conscious perception of time and space characteristic of twentieth-century literature and culture. Second, it captures the sense that speed—in particular, the speed with which change takes place—is a fundamental characteristic of modern life. Or as Lucy puts it while also extending the aerop