By G. Gilbert
Sooner than Modernism was once areas modernist writing in the texture of contemporary heritage. Texts by means of Woolf, James, Freud, Wyndham Lewis, Stein, Malinowski, and others are learn via a number of figures that build and disrupt smooth which means: the ghost that has effects on the price of your own home; the sulky, graceless adolescent; the Pole who is probably not Polish; the fearful proprietor of the puppy; the addict and her smoke. Eccentric to its associations, those figures are imperative to the constituency of modernism.
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Additional resources for Before Modernism Was: Modern History and the Constituency of Writing
The Society aimed to resituate the supernatural: to take it away from shadier spaces and replace it within relatively positivistic scientific discourses. There is nothing inherently disastrous to such a project in a failure to record supernatural phenomena: ghosts have a right - almost a duty - to be tricky, and that kind of difficulty can be understood as merely a spur to further creativity in experimental design. What is more difficult for an experimental science to absorb is the reflection on the material conditions - the houses as properties - which aren't easy to separate from the phenomena - the ghosts - themselves.
Development and character, the agencies through which humans enter into dialectical relations with history, depend on the concrete realisation of potentiality through action. 36 This is why he has no time for Andre Gide (the Gide of Les Faux-Monnayeurs), or for Musil, in whom the 'sense of possibility' is raised to a method; and why, in general, he sees modernism as an 'error'. Lukacs makes this argument in the name of the social being of man, his existence within a network of meaningful and material human relationships.
53 It is clear I think that Massis's disgust at Gide is socio-sexual. 54 His imagination of a social narcissism, extending sensually out into a world of selves, which are conceived as similar to Gide rather than marking a difference from him, calls up the full force of Massis's vehemence, and the full weight of his Catholic orthodoxy. Something must be disciplined here. Gide's friends occasionally thought the same. 55 The mode of social relation that Gide's writing implies will impede development towards a 'full and final' writing position, will leave him in a formless present tense.