Primordial Modernism - (Edinburgh Critical Studies in Modernist Culture) by Cathryn Setz (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br><p>This adventurous study focuses on experimental animal writing in the major interwar journal transition (1927-1938), which contains a striking recurrence of metaphors around the most basic forms of life. </p><p/><br></br><p><b> Book Synopsis </b></p></br></br><p><strong>Brings ideas and animals together to shed new light on modernist magazine culture</strong> </p> <ul> <li>Tests the concept of 'primordial' modernism as a tributary of primitivism, Jungian thought, and fraught nationalisms</li> <li>Provides readings of Eugene Jolas's creative and critical works that place him centre-stage in modernist studies</li> <li>Moves between unpublished archival material, reception studies, and readings of overlooked authors</li> <li>Considers a wide range of modernist authors and artists as befitting to such a rich document</li> <li>Touches on contemporary scientific discourse as an aspect of animal studies</li> <p></p></ul> <p>This adventurous study focuses on experimental animal writing in the major interwar journal transition (1927-1938), which contains a striking recurrence of metaphors around the most basic forms of life. Amoebas, fish, lizards, birds - some of the 'lowest' and 'oldest' creatures on earth often emerge at the very places authors seek expressions for the 'newest' and the 'highest' in art. Discussing works by James Joyce, Henry Miller, Gottfried Benn, Eugene Jolas, Kay Boyle, Bryher, Paul Éluard and more, Cathryn Setz investigates this paradox and provides a new understanding of transition's contribution to twentieth-century periodical culture.</p><p/><br></br><p><b> From the Back Cover </b></p></br></br>Brings periodical culture and animal studies together to shed new light on modernism This adventurous study focuses on experimental animal writing in the major interwar journal transition (1927-1938), which contains a striking recurrence of metaphors around the most basic forms of life. Some of the 'lowest' and 'oldest' creatures on earth often emerge at the very places authors seek expressions for the 'newest' and the 'highest' in art. Discussing works by James Joyce, Henry Miller, Gottfried Benn, Eugene Jolas, Kay Boyle, Bryher, Paul Éluard and more, Cathryn Setz investigates this paradox and provides a new understanding of transition's contribution to twentieth-century periodical culture. Cathryn Setz is Associate Visiting Research Fellow at the Rothermere American Institute at the University of Oxford.<p/><br></br><p><b> Review Quotes </b></p></br></br><br><i> <p>Primordial Modernism </i>asks us to behold modernism afresh, through pineal eyes. Gone is the fetishization of male ego that once made Wyndham Lewis's coinage, "the Men of 1914", a reasonable characterization of the modernist movement. Gone, too, is the fetishizationof genius. Jolas is celebrated by Setz primarily for his influence on other writers, while the most august of the magazine's contributors, James Joyce, is shrunk; Setz puts it beautifully: "The 'Work in Progress' was an agenda-setting presence [for <i>transition</i>], and the slither of that world of a book explored here has received a necessarily partial discussion".</p>--Beci Carver "Times Literary Supplement "<br><p/><br></br><p><b> About the Author </b></p></br></br><p>Cathryn Setz is an Associate Visiting Research Fellow at the Rothermere American Institute at the University of Oxford. Her work explores the junctions between modernist magazine culture and popular science, specifically around the 'Eclipse of Darwinism', 'bad' biology in 1920s America, and literary resistance to scientific racism. She is also Co-Editor of <i>Shattered Objects: Djuna Barnes's Modernism</i> (Penn State University Press, 2019), and a collaborative Selected Letters of Djuna Barnes project.<p>
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