By Rosemary Sumner
Seems to be retail.
The query 'What is modernism?' has provoked extreme severe dialogue. A path to Modernism explores this zone; it specializes in the unusual and unsafe trip taken via Hardy, Lawrence and Woolf in the direction of unknown areas of the brain and the universe. In a dialogue of those novelists, either separately and relating to each other, an intensive reconsideration of modernism is constructed. Woolf envisaged her contemporaries 'flashing previous on one other railway line'. A path to Modernism indicates the hypothetical teach of Hardy, Lawrence and Woolf now not following an latest music yet tunnelling underneath surfaces, following routes that are 'spasmodic, fragmentary', occasionally starting off like a rocket into the cosmos. Their fragmented, modernist works deny us 'the convenience of ...a unmarried which means, both in artworks or within the world'. This publication deals new ways to modernism, whereas insisting on books being left 'open - no end come to'.
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Extra resources for A Route to Modernism: Hardy, Lawrence, Woolf
In Kangaroo the struggle becomes less abstract and even more anguished: 'speech was like a volley of dead leaves and dust, stifling the air. ' 81 Somers here is almost identical with Bernard in The Waves who needs 'a howl, a cry'. In desperation, these novelists look to times and places without language 'beyond words', in the unconscious in Women in Love, before words, in the unintelligible syllables of the song of the ancient woman outside Regent's Park Station in Mrs Dalloway. Illness, for Woolf, provides yet another way of experiencing words: In illness words seem to possess a mystic quality.
Though I agree with Joan Grundy that there is an echo of contemporary Victorian paintings of girls leaning flirtatiously round doorways, I think the language points forward to a Surrealist way of looking at the scene.
Debased to burlesque lines'. 33 Seen in the light of these burlesque, farcical and absurd qualities in the novel, the final sentence, perhaps Hardy's most startling ending, begins to make sense, as a final jolt to the reader's sense of order and congruity. The shock of jumping abruptly from the genuinely moving death of Viviette to the savage irony of the last sentence might have worked if the last two chapters had not led us right away from the absurd mode. But the Bishop has fulfilled his function and disappeared from the novel.
A Route to Modernism: Hardy, Lawrence, Woolf by Rosemary Sumner