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The Modernist Exoskeleton THE MODERNIST EXOSKELETON 66260_Murray.indd260_Murray.indd i 007/02/207/02/20 44:50:50 PPMM Edinburgh Critical Studies in Modernist Culture Series Editors: Tim Armstrong and Rebecca Beasley Available Modernism and Magic: Experiments with Spiritualism, Theosophy and the Occult Leigh Wilson Sonic Modernity: Representing Sound in Literature, Culture and the Arts Sam Halliday Modernism and the Frankfurt School Tyrus Miller Lesbian Modernism: Censorship, Sexuality and Genre Fiction Elizabeth English Modern Print Artefacts: Textual Materiality and Literary Value in British Print Culture, 1890–1930s Patrick Collier Cheap Modernism: Expanding Markets, Publishers’ Series and the Avant-Garde Lise Jaillant Portable Modernisms: The Art of Travelling Light Emily Ridge Hieroglyphic Modernisms: Writing and New Media in the Twentieth Century Jesse Schotter Modernism, Fiction and Mathematics Nina Engelhardt Modernist Life Histories: Biological Theory and the Experimental Bildungsroman Daniel Aureliano Newman Modernism, Space and the City: Outsiders and Affect in Paris, Vienna, Berlin, and London Andrew Thacker Modernism Edited: Marianne Moore and the Dial Magazine Victoria Bazin Modernism and Time Machines Charles Tung Primordial Modernism: Animals, Ideas, transition (1927–1938) Cathryn Setz Modernism and Still Life: Artists, Writers, Dancers Claudia Tobin The Modernist Exoskeleton: Insects, War, Literary Form Rachel Murray Forthcoming Slow Modernism Laura Salisbury Modernism and the Idea of Everyday Life Leena Kore-Schröder Novel Sensations: Modernist Fiction and the Problem of Qualia Jon Day Hotel Modernity: Literary Encounters with Corporate Space Robbie Moore Modernism and Religion: Poetry and the Rise of Mysticism Jamie Callison Abstraction in Modernism and Modernity: Human and Inhuman Jeff Wallace www.edinburghuniversitypress.com/series/ecsmc 66260_Murray.indd260_Murray.indd iiii 007/02/207/02/20 44:50:50 PPMM THE MODERNIST EXOSKELETON Insects, War, Literary Form Rachel Murray 66260_Murray.indd260_Murray.indd iiiiii 007/02/207/02/20 44:50:50 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Rachel Murray, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in 10/12.5 Adobe Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5819 1 (hardback) ISBN 978 1 4744 5821 4 (webready PDF) ISBN 978 1 4744 5822 1 (epub) The right of Rachel Murray to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66260_Murray.indd260_Murray.indd iivv 007/02/207/02/20 44:50:50 PPMM CONTENTS List of Figures vi Acknowledgements viii Series Editors’ Preface xi Abbreviations xii Introduction 1 1 Shell Bursts: Wyndham Lewis 24 2 Formication: D. H. Lawrence 61 3 Cocoon States: H.D. 95 4 Larval Forms: Samuel Beckett 129 Conclusion: ‘Things that won’t quite formulate’ 166 Bibliography 176 Index 200 66260_Murray.indd260_Murray.indd v 007/02/207/02/20 44:50:50 PPMM FIGURES I.1 ‘Die “Chlorreiche” Germania’ [The ‘Chlorine-Rich’ Germania]. De Groene Amsterdammer, 9 May 1915, 11. 6 I.2 Film stills from The Acrobatic Fly, 1910. British Film Institute. 10 1.1 Murex shell (Murex pecten). Photograph by Didier Descouens, 2009. Reproduced under Creative Commons License CC-BY SA 4.0. 25 1.2 Whelk shell (Nucella lapillus). Photograph by H. Zell, 2014. Reproduced under Creative Commons License CC-BY SA 3.0. 25 1.3 HMS Underwing with dazzle camoufl age pattern, c.1918. Photograph by Oscar Parkes (undated). Image No. SP 142, Imperial War Museums Collection. Reproduced under Creative Commons License CC0 1.0 Universal. 32 1.4 Tiger moth (Arctia caja). Photograph by Martin Landry, 18 July 2013. Reproduced by permission of Martin Landry. 32 1.5 Wyndham Lewis, ‘Mr Wyndham Lewis as a Tyro’, c.1920–1. © Wyndham Lewis Memorial Trust/Bridgeman Images, 2019. 51 1.6 Wyndham Lewis, ‘Self-Portrait’, 1932. © Wyndham Lewis Memorial Trust/Bridgeman Images, 2019. 51 3.1 Film stills from Skilled Insect Artisans, 1922. British Film Institute. 100 66260_Murray.indd260_Murray.indd vvii 007/02/207/02/20 44:50:50 PPMM FIGURES 4.1 Beckett in his garden at Ussy (undated). Samuel Beckett MS-122, Rauner Special Collections Library, Dartmouth College. Reproduced by permission of Dartmouth College. 150 4.2 Beckett digging holes at Ussy (undated). Pamela Mitchell Collection MS 5060, University of Reading Special Collections. Reproduced by permission of University of Reading. 150 4.3 Saint-Lô, June 1944. German Federal Archive, Image No. 146-1984-043-03. 152 4.4 Double plate illustration depicting embryos of a fish, salamander, turtle, chick, pig, cow, rabbit and human, at ‘very early’, ‘somewhat later’ and ‘still later’ stages. From Ernst Haeckel’s Anthropogenie, 1874. Reproduced under Creative Commons License CC0 1.0 Universal. 160 vii 66260_Murray.indd260_Murray.indd vviiii 007/02/207/02/20 44:50:50 PPMM ACKNOWLEDGEMENTS This exoskeleton was not formed by me alone: I am very grateful to those who have contributed to its development over the years. My thanks, fi rst and foremost, to Ralph Pite, who guided me through much of the writing process, encouraged me to be adventurous in my thinking, and taught me a great deal about what it means to be receptive. I would also like to thank Kirsty Martin for her skill and sensitivity as a close reader during the formative years of the project, and Laura Salisbury, whose incisive feedback helped to sharpen my thinking at a crucial stage. My sincere thanks to Andrew Blades, Danny Karlin, Gareth Mills, Derek Ryan, and Oliver Tearle, for reading and responding to various drafts and sections of this book; to David Trotter for asking searching questions that tested my argument in important ways, and to Steven Connor whose generous insights improved this book considerably. Camilla Bostock, Penny Cartwright, Rowena Kennedy Epstein, Alex Goody, Douglas Mao, Laura Marcus, John McTague, Natalie Pollard, Nathan Waddell, Martin Willis and Michael Whit- worth all made helpful suggestions along the way for which I am very grateful. A special thanks to my series editors, Tim Armstrong and Rebecca Beasley, for their brilliant advice and suggestions for improvement, and to my anony- mous readers for their valuable recommendations. I would also like to thank Jackie Jones and Ersev Ersoy at Edinburgh University Press for their diligence and patience throughout the editing process, as well as my copy editor Peter Williams for his attention to detail. viii 66260_Murray.indd260_Murray.indd vviiiiii 007/02/207/02/20 44:50:50 PPMM ACKNOWLEDGEMENTS I am grateful to the Wyndham Lewis Memorial Trust for granting me per- mission to use two self-portraits by Lewis; Reading University Special Collec- tions and Rauner Special Collections at Dartmouth College for permission to reproduce two photographs of Samuel Beckett; Bart Wursten for granting me permission to use his photograph ‘Picasso Bug (Sphaerocoris annulus)’ as the cover image; Martin Landry for allowing me to use his photograph of a tiger moth; and the Authors League Fund and St Bride’s Church, as joint literary executors of the Estate of Djuna Barnes, for granting me permission to quote from Barnes’s ‘Rite of Spring’. ‘The Walls Do Not Fall’ by H.D., from Collected Poems, 1912–1944, copyright © 1982 by The Estate of Hilda Doolittle, and Helen in Egypt, copyright © 1961 by Norman Holmes Pearson are reprinted here by permission of New Directions Publishing Corp. My thanks also to James Hirst for locating material from the Wyndham Lewis Collection at Cornell University Library on my behalf. An early version of Chapter 4 won the British Society for Literature and Science Early Career Essay Prize in 2016 and was published in the Journal of Literature and Science. The editors have kindly allowed me to reproduce parts of the article here. Every effort has been made to trace all other copyright holders but if any have been inadvertently overlooked the publisher will be pleased to make the necessary arrangements at the fi rst opportunity. I would like to thank the Arts and Humanities Research Council for funding the research on which this monograph is based, the Universities of Bristol and Exeter for providing institutional support, and Chantelle Payne and Rose Jones at the South, West and Wales Doctoral Training Partnership for their adminis- trative assistance. Loughborough University awarded me a research fellowship that enabled me to complete this book, and the School of the Arts, English and Drama provided additional funding that allowed me to secure image permis- sions. A number of colleagues in the School of Arts, including Nick Freeman, Eleanor Morgan, Sarah Parker, Claire Warden and Nigel Wood, made helpful suggestions while I was fi nishing this book – my thanks to them. This book began its life at Bristol University, where I benefi ted enormously from the supportive research community there. I would like to thank, in par- ticular, Marianna Dudley, Stephen James, Michael Malay, Merle Patchett, Vicky Smith and
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