By Tyrus Miller
Tyrus Miller breaks new floor during this examine of early twentieth-century literary and creative tradition. while modernism reviews have quite often focused on the very important early levels of the modernist rebellion, Miller makes a speciality of the turbulent later years of the Twenties and Nineteen Thirties, monitoring the dissolution of modernism within the interwar years.In the post-World warfare I reconstruction and the global drawback that undefined, Miller argues, new technological media and the social forces of mass politics opened fault traces in person and collective event, undermining the cultural bases of the modernist stream. He indicates how overdue modernists tried to find methods of occupying this new and sometimes harmful cultural area. In doing so that they laid naked the break of the modernist aesthetic even as they transcended its limits.In his wide-ranging theoretical and old dialogue, Miller relates advancements in literary tradition to developments within the visible arts, cultural and political feedback, mass tradition, and social historical past. He excavates Wyndham Lewis's hidden borrowings from Al Jolson's The Jazz Singer; situates Djuna Barnes among the imagery of high fashion and the intellectualism of Duchamp; uncovers Beckett's affinities with Giacometti's surrealist sculptures and the Bolshevik clowns Bim-Bom; and considers Mina Loy as either visionary author and clothier of ornamental lampshades. Miller's full of life and fascinating readings of tradition during this turbulent interval demonstrate its remarkable anticipation of our personal postmodernity.