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British Modernism, the Artist-Critic, and the Function of Criticism, 1895-1940

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British Modernism, the Artist-Critic, and the Function of Criticism, 1895-1940 Resisting Tyranny, Resisting Stasis: British Modernism, the Artist-Critic, and the Function of Criticism, 1895-1940 by Patrick Thomas Henry B.A. in Creative Writing, May 2008, Susquehanna University B.A. in Political Science, May 2008, Susquehanna University M.A. in English, May 2010, Bucknell University M.F.A. in Creative Writing (Fiction), May 2012, Rutgers, the State University of New Jersey – Newark Campus A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 21, 2017 Jennifer Green-Lewis, Associate Professor of English Kavita Daiya Associate Professor of English The Columbian College of Arts and Sciences of The George Washington University certifies that Patrick Thomas Henry has passed the Final Examination for the degree of Doctor of Philosophy as of 27 January 2017. This is the final and approved form of the dissertation. Resisting Tyranny, Resisting Stasis: British Modernism, the Artist-Critic, and the Function of Criticism, 1895-1940 Patrick Thomas Henry Dissertation Research Committee: Jennifer Green-Lewis, Associate Professor of English, Dissertation Co-Director Kavita Daiya, Associate Professor of English, Dissertation Co-Director Maria Frawley, Professor of English, Committee Member Margaret Soltan, Associate Professor of English, Committee Member ii © Copyright 2017 by Patrick Thomas Henry All rights reserved iii Dedication To my grandmother, Lois E. Henry, who gave me the Faulknerian dictum to “Read, read, read—read everything!” before any other teacher did. And to Karen E. Davis, my wife. These words—and all the rest—are for her, with love. iv Acknowledgements In her diaries, Virginia Woolf reserves her highest (and rare bits of unqualified) praise for those writers and friends whose work influenced her books. I am fortunate beyond belief to have mentors whose writing and teaching have inspired me in the same way. I would like to thank my committee co-directors: Jennifer Green-Lewis, whose mentorship has constantly reaffirmed my belief that the beautiful matters in writing, teaching, and critiquing; Kavita Daiya, whose example has reminded me that hidden stories always have a place in our classrooms and our scholarly dialogues. I would also like to thank my readers, Maria Frawley and Margaret Soltan, for graciously dedicating their time to this project—and for offering me a space to think aloud in their offices. My thanks also go out to Thomas Mallon, for his support and guidance as I balanced dissertating and fiction writing at GWU. Lastly, I am especially grateful for the continued support of John Rickard, who directed my M.A. thesis at Bucknell; if John hadn’t suggested that I read Joyce, Eliot, Woolf, and Flann O’Brien, I may never have stumbled, headlong as Alice into the rabbit-hole, into Modernism. I’ve been privileged to have the companionship and unflagging support of the friends I discovered at GW—especially Leigha McReynolds, Erin Vander Wall, Nora Alfaiz, and Haylie Swenson. The second chapter would not have happened without my brother Glenn Henry and my sister-in-law Amanda Peck, who offered me their home for a two-week writing retreat in August 2015. I would also never have arrived here, were it not for my grandmother, Lois E. Henry, a retired public school teacher whose one passion is this: to make all her students love reading. One of the small miracles of daily v living is this: that so often, a friend or a relative unknowingly commits an act of grace and kindness—and that is enough, to prove that the work remains worth pursuing. I’m reminded again of Woolf, who drew inspiration in A Room of One’s Own from a Manx cat crossing a university quad. I could not write without the silent wisdom of my beloved cats—Kaylee (who passed days after I defended the proposal for this project) and our tortoiseshell kittens, Campbell and Teagan. (Campbell: the lymphoma took you from us too soon, just after I had written this note—but your strength and resilience anchored me through revisions.) These dear cats, they always know when the delete key is the only means of revision. And lastly, but certainly never least: this would be for nothing if it were not for my wife, Karen Davis. Over ten years ago, on a mountaintop overlooking the Susquehanna River, she agreed to a picnic. And then, just three years ago, in Turkey Run National Park—another mountain, overlooking another river—she said yes. Because of her, there are always stories (and essays, and novels, and dissertations . .) left to write. PTH Alexandria, VA Sept. 2016 Rev.: Dec. 2016 vi Abstract of Dissertation Resisting Tyranny, Resisting Stasis: British Modernism, the Artist-Critic, and the Function of Criticism, 1895-1940 This dissertation assesses the aesthetic, political, and ideological interventions in the critical nonfiction by British Modernist writers between the years of 1895 and 1940. This project contextualizes these artist-critics against major historical events in order to demonstrate that criticism issues a necessary challenge to reductive and restrictive regimes of ideological and aesthetic thought. Moreover, this project demonstrates that, firstly, criticism should be esteemed as a creative form and, secondly, that the nonfiction of Modernist writers deserves the same scrutiny as their fiction, drama, and poetry. The introduction critiques contemporary critical methods like symptomatic reading and surface reading, while offering the methodology of artist-critics as a necessary complement to academic writing. The first chapter examines Oscar Wilde’s testimony in his libel suit against the Marquess of Queensberry, Regina v. John Douglas; I argue that Wilde’s testimony employs aesthetic principles to reveal the inconsistencies inherent in the authority of the state. The second chapter analyzes Rebecca West’s journalism and book reviews against the backdrop of the First World War, contending that West’s feminist writings produce a counter-history that complicates academic discussions of Britain’s Great War literature. The third chapter seeks to reclaim literary biography as a genre of critical writing, by reading Virginia Woolf’s Roger Fry: A Biography as an extended argument for the task of the critic and the function of criticism. The conclusion, by reading Hugh MacDiarmid’s Scottish nationalism against the events of the June 2016 “Brexit” vote, demonstrates the continued valences of artist-critics’ work beyond their own historical periods. vii Table of Contents Dedication ........................................................................................................................... iv Acknowledgements ............................................................................................................. v Abstract .............................................................................................................................. vii Table of Contents ............................................................................................................. viii List of Figures ..................................................................................................................... ix Introduction. Surface and Symbol: The Artist-Critic, Critical Methodologies, and the Function of Criticism .................................................................................. 1 Chapter One. Literary Criticism on Trial: The Disruption of Discourse and Power in Oscar Wilde’s Testimony in Regina v. John Douglas ........................... 45 Chapter Two. The Other “Bloody War”: Rebecca West’s Early Nonfiction, Disillusionment, and a Feminist Counter-Memory of the Great War Years ....... 112 Chapter Three. Virginia Woolf’s Roger Fry: A Biography and the Task of the Critic ................................................................................................. 182 Coda. The Afterlife of Scottish Nationalism; or, Hugh MacDiarmid, Scottish Letters, and Britain after Brexit ............................................................. 272 Works Cited and Consulted ............................................................................................. 297 viii List of Figures Figure 1.1: The Marquess of Queensberry’s Card ............................................................ 46 Figure 1.2: “Oscar Wilde at Bow Street” in The Illustrated Police News ......................... 61 Figure 2.1: Kitchener’s Army Poster ............................................................................... 131 Figure 2.2: “Women of Britain Say—‘Go!’” poster ....................................................... 131 Figure 2.3: WSPU’s Cat & Mouse Act Poster ................................................................ 149 Figure 2.4: Henry Herbert Asquith .................................................................................. 149 Figure 3.1: Dorrit Cohn’s Genre and Voice Grid ............................................................ 204 ix Introduction Surface and Symbol: The Artist-Critic, Critical Methodologies, and the Function of Criticism We must know whether And if not: then what is the task very much on the surface by means of finite signs when one is frightened of the truth –Carolyn Forché, “Book Codes: I” in The Angel of History (1994) 1. On 19 November 2014, Pulitzer- and Nobel-winning novelist Toni Morrison appeared on Comedy Central’s The Colbert Report to discuss, amongst other matters, her perspectives on racism in America.
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