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The Twentieth Century XV The Twentieth Century JUDIE NEWMAN, JOHN SAUNDERS, JOHN CHALKER, and RENE WEIS This chapter has the following sections: 1. The Novel, by Judie Newman and John Saunders; 2. Verse, by John Chalker; 3. Prose Drama, by Ren6 Weis. Downloaded from https://academic.oup.com/ywes/article/64/1/415/1672491 by guest on 30 September 2021 1. The Novel This section has three categories: (a) General Studies, by Judie Newman; (b) Individual Authors: 1900-45, by John Saunders; (c) Individual Authors: Post-1945, by Judie Newman. The attribution [J-S.] denotes isolated reviews by John Saunders. (a) General Studies The relevant volumes of BHI and BNB provide useful bibliographical aid. MFS contains helpful lists of books received and of books reviewed. Current Contents is most useful in listing the contents of periodicals as they appear. Alistair Davies's An Annotated Critical Bibliography of Modernism1 promises to be similarly useful, with sections on Yeats, Wyndham Lewis, Lawrence, and Eliot arranged chronologically under various headings and the first part of the book devoted to the theory and practice of modernism. Over 200 entries take us from Axel's Castle to 1980, with rational subdivisions so that if one wants to investigate 'the Marxist Critique of Modernism', for example, one finds eight books and essays listed. Critical comments are brief but sensible, and there are indexes of authors and subjects. Davies makes his preferences clear, while including fair coverage of other points of view. [J.S.] Volume 21 of the Gale Information Guide Series completes their bibliography of English Fiction 1900-19501 with entries from Joyce to Woolf. Since these two authors along with Lawrence are to be the subject of separate volumes they are given only limited treatment here (Lawrence gets thirty-eight pages compared with almost a hundred devoted to Conrad in the previous volume). Foreign language publications are excluded, but otherwise coverage is pretty comprehensive, with asterisks to indicate items of special interest. Brief descriptive comments are included {Kangaroo and The Trespasser are listed as 'unsuccessful', The White Peacock is 'flawed') and there are 1. An Annotated Critical Bibliography of Modernism, by Alistair Davies. Harvester (1982). pp. 261. £28.50. 2. English Fiction 1900-1950, Vol. 21, ed. by Thomas Jackson Rice. Gale Informa- tion Guide Series. Gale. pp. xxiv + 627. $44. 416 THE TWENTIETH CENTURY summaries of up to a hundred words for some critical works. Twenty authors are included, among them Macaulay, Mansfield, Waugh, Wells, Orwell, Dorothy Richardson, and the Powys brothers, and the indexes together with a high standard of accuracy make it a thoroughly useful work of reference. [J.S.] Another volume from Gale3 is more likely to gather dust on the shelf, with its excerpts from criticism of novelists, poets, and dramatists living between 1900 and 1960. Twenty-eight authors are included, ranging from Annie Besant to Edith Wharton, with Lawrence, Wyndham Lewis, Shaw, and Anatole France among the bigger names. Only foreign works already translated into English are excerpted, and although one can understand a sense of hopelessness when faced with the mass of available material on, say, Lawrence and no more than twenty pages to spare, it does seem odd to represent the last decade only with pieces by Joseph Voelker and Jerome Bump. There is something random about the whole undertaking (readers are asked to suggest subjects for future volumes) though it is agreeable to run from Brecht to Gore Downloaded from https://academic.oup.com/ywes/article/64/1/415/1672491 by guest on 30 September 2021 Vidal on the subject of Shaw without getting up from one's chair. Probably the sections on the lesser lights will be the most valuable. Someone somewhere must have been waiting for the pages on Charlotte Perkins Gilman and Zinaida Hippius. [J.S.] Possible additions to the modernist canon, and a reconsideration of received opinion about the major figures prompt another stimulating volume of Harvard English Studies4. Jerome H. Buckley examines the autobiographical writing of Wilde, Moore, Edmund Gosse, and Henry Adams and their concern for the elusive nature of the self and the need to invent an identity, foreshadowings of Joyce's preoccupations in A Portrait a few years later. Phyllis Rose writes on Willa Cather as a kind of modernist, in spite of her reactionary pronouncements, and Lisa Ruddick has an essay on the lasting impact of William James's psychology on the modernism of Gertrude Stein. John Hildebidle looks at the war memoirs of Graves, Blunden, and Sassoon for the mechanisms of psychological survival which they describe, while Thomas Mallon looks more closely at Sassoon's relationship to the Great War and the ways in which the sporadic boy-poet lived on in the man looking back thirty years later. Robert Coles's investigation of instances of modernist anti-intellectualism centres on William Carlos Williams. Bruce Robbins ranges more widely in his 'Modernism in History, Modernism in Power' while taking most of his examples from across the Atlantic, though there are some paragraphs on Leavis's vision of historical decline. Ronald Bush reconsiders Eliot's later poems and his re-awakened interest in Mallarm6 as significant predecessors of post-modernist poetry, but Monroe Engel's return to Lawrence and Joyce, 'our two great monogamous imaginations', for 'interillumination' is more pertinent to our brief in this section. Beginning with their treatment of marriage in Exiles, Ulysses, and Women in Love, his essay involves distinguishing kinds of irony, contrasting the way in which for Lawrence it becomes 'the closing down of an earlier fulness' in the relationship between Birkin and Ursula, while for the Joyce of Ulysses it is now an 3. Twentieth Century Literary Criticism, Vol. 9, cd. Dennis Poupard et al. Gale, pp. 602. $76. 4. Modernism Reconsidered, ed. by Robert Kiely assisted by John Hildebidle. Harvard English Studies. Harvard, pp. 264. hb £21.25, pb £4.95. THE TWENTIETH CENTURY 417 expansive mode after its 'sanitizing' effect in Dubliners and A Portrait. Judith Wilt brings us up to date with her closing essay on 1984, where she sees Orwell completing the 'aesthetico-psychic' insight of modernists like Lawrence, Joyce, and Eliot in recognizing that 'the worst thing in the world' lies within ourselves. More substantially, Donald D. Stone conducts a spirited defence of Arnold Bennett, arguing that his transitional status gave him the best of both worlds, so that he was able to 'transcribe and transcend' realism while remaining within the novelistic mainstream. He makes out a persuasive case on the evidence of two 'marvellous' but less well-known books, Anna of the Five Towns and Riceyman's Steps. J. Hillis Miller takes up again some of the thinking in his recent Fiction and Repetition (Harvard, 1982; see VW 63.532- 3) to write on the rhythm of creativity in To the Lighthouse. Woolf's work is dominated by the question of whether there is some sustaining rhythm beneath the flux, or simply meaningless time unfolding in the face of human efforts to impose a pattern. The rhythms of painting and poetry are represented through Downloaded from https://academic.oup.com/ywes/article/64/1/415/1672491 by guest on 30 September 2021 lily Briscoe and Augustus Carmichael, the latter perhaps embodying the impersonal narrative consciousness which lies at the end of the famous 'tunnelling process'. Miller concludes by relating his opening propositions about rhythm as both sustaining and devastating to Woolf's search for an androgynous style in a characteristically subtle synthesis. Virginia Woolf is also the subject of Robert Kiely's own contribution, 'Two Studies of Still life', comparing her first important success, Jacob's Room, and her strangely lifeless biography of Roger Fry, and contrasting the 'magnetic absence' of Jacob with her inability to get Fry onto her canvas, perhaps because his career touched off the worst anxieties about herself. [J.S.] Kiely's skilful alternation of the general and the particular is also evident in his recent study of the fiction of Lawrence, Woolf, and Joyce, belatedly to hand5. The title reflects his belief that the 'most fundamental and significant movement' in all three is 'outward from the individual and local to the relational and universal'. He proceeds by centring each chapter on a particular theme - nature and the artist, mother and child, marriage, friendship, and the actor and audience - and comparing examples from his chosen authors. To take the first of these, for all three writers the problem is how to look at the natural universe without being blinded by literary convention or overwhelmed by mystery, and their response is illustrated in sensitive analysis of sea scenes from The Trespassers, A Portrait, and The Voyage Out, but in a quite unreductive way, allowing full play to the differences in tone and technique. In the next chapter, where Kiely traces the writers' transformation of the death of the mother from personal trauma into a key-element in the artist's signature, the examples suggest themselves, but Kiely discovers fresh insights in the familiar episodes. Indeed this is where the value of the book lies rather than in any overall thesis, its origins as he confesses springing from his inability to choose between the three novelists. [J.S.] Quite different, but also to be recommended, is Roger Ebbatson's study of Hardy, Forster, and Lawrence6, where he takes a single theme - evolutionary 5. Beyond Egotism: The Fiction of James Joyce, Virginia Woolf, and D. H. Lawrence, by Robert Kiely. Harvard (1980). pp. 244. £12. 6. The Evolutionary Self. Hardy, Forster, Lawrence, by Roger Ebbatson. Harvester (1982). pp. xxi +119. £15.95. 418 THE TWENTIETH CENTURY theory as a stimulus to the literary imagination - and follows up the response from Hardy's 'creative misreading' of Darwin to Lawrence's debt to thinkers like J.
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