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Textual Collisions: the Writing Process and the Modernist TEXTUAL COLLISIONS: THE WRITING PROCESS AND THE MODERNIST EXPERIMENT A Dissertation by ERIN MICHELLE HOLLIS Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2005 Major Subject: English © 2005 ERIN MICHELLE HOLLIS ALL RIGHTS RESERVED TEXTUAL COLLISIONS: THE WRITING PROCESS AND THE MODERNIST EXPERIMENT A Dissertation by ERIN MICHELLE HOLLIS Submitted to Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved as to style and content by: ___________________________________ ___________________________________ Marian Eide Katherine Kelly (Chair of Committee) (Member) ___________________________________ ___________________________________ James L. Harner Robert Boenig (Member) (Member) ___________________________________ ___________________________________ John McDermott Paul Parrish (Member) (Head of Department) May 2005 Major Subject: English iii ABSTRACT Textual Collisions: The Writing Process and the Modernist Experiment. (May 2005) Erin Michelle Hollis, B.A. Illinois State University; M.A., Texas A&M University Chair of Advisory Committee: Dr. Marian Eide This dissertation explores textual junctures such as this in the compositional processes of James Joyce, Djuna Barnes, Mina Loy and Ezra Pound that illuminate how these modernists negotiated the fraught position of being an author in the early twentieth century. This approach marks a departure from conventional textual criticism as I look at the intersections between textual criticism and literary theory, demonstrating the effects different theories can have on our understanding of textual criticism. Recent innovations in textual scholarship influenced by poststructuralist theorists allow me to uncover and describe the extent to which each of these four authors construct a self- conscious version of authorship in relation to their larger Modernist aims. This examination reveals how Joyce, Barnes, Loy, and Pound were subject to numerous outside influences, personal insecurities and preoccupations throughout the writing process, indicating their desires to both manipulate and participate in the modernist project of innovation and experimentation. The first chapter addresses the evolution of Joyce’s pre-writing, drafting and revising processes as a form of textual gossip. Joyce excised material from much of his early writing, controlling his work as a gossiper controls rumors. As he became iv increasingly more inclusive in his writing process, he also reflected a more positive regard for gossip as a similarly inclusive process. The second chapter examines the revision and editing of Ryder, Nightwood, and The Antiphon. Barnes increasingly sought legitimacy for her work by subjecting it to the conventionalizing editing of T.S. Eliot and Emily Holmes Coleman. In the third chapter, I interrogate Pound’s poetic practices and his status as an expatriate in order to reveal how Pound felt as an exile to his own writing. The fourth chapter analyzes Loy’s marginal status in the modernist canon, arguing that she created a persona through her public presentation of herself in her poems that is responsible for her constant and perpetual rediscovery. v For Tom, the leader of the gossipocracy, for Marian, a kind friend and wise advisor, and for John, my forever friend. vi ACKNOWLEDGEMENTS Many people have helped me during my pursuit of the Ph.D. I would like to thank my parents, Martha and Roger Hollis, for their support throughout my graduate career; I couldn’t ask for better parents. I would also like to thank my sister, Meghan, for her support and kindness. My sisters, Emily and Kimberly, have often been there to listen when I needed an ear. My niece, Becky, and my nephew, David, provided nice breaks from writing. I would also like to thank the members of my committee. John McDermott inspired me and made me examine my life. Robert Boenig opened my eyes to different areas of interest and helped me with correctness. James L. Harner was extremely supportive, helped me with textual criticism, and always could be depended on for a laugh. Kate Kelly’s elegance, intelligence, and compassion gave me an example to strive for. And Marian Eide was the best chair anyone could ever ask for. She was supportive, wise, and kind, giving me advice in all areas of life. Michael Groden gave me excellent help and indicated several Joycean paths I could explore. Other professors have provided invaluable help, including Victoria Rosner (queen of Job Placement), Jimmie Killingsworth, Sally Robinson, Robert McLaughlin, Sally Parry, Joanna Gibson, Paul Parrish, Pam Matthews, and Mary Ann O’Farrell. Amelia Reid always provided a great shoulder and is a wonderful friend. vii Tom Martin made me laugh and created a space for me to feel comfortable. Matt Sherwood always gave me technical help and listened when I needed him. John Goeckner has always been my friend no matter what, and his friendship has sustained me throughout the years. I would like to thank the English Department at Texas A&M University for their financial support for research trips, the Glasscock Center for Humanities Research and the L.T. Jordan Institute. viii TABLE OF CONTENTS Page ABSTRACT.................................................................................................. iii DEDICATION .............................................................................................. v ACKNOWLEDGEMENTS .......................................................................... vi TABLE OF CONTENTS.............................................................................. viii LIST OF FIGURES....................................................................................... xi CHAPTER I INTRODUCTION.......................................................................... 1 Collisions, Collusions, and Collaborations: The Etymology of this Dissertation................................................................... 3 Textual Criticism: Some Highlights......................................... 7 Poststructuralism: Derrida Inc.................................................. 13 When Poststructuralism and Textual Criticism Collide: Creation and Destruction.......................................................... 16 Modernism, Sociability and Collaborative Authorship............ 17 The Aftermath: Chapters:......................................................... 19 II “MAN DEAR, DID YOU EVER HEAR?”: JAMES JOYCE’S EVOLUTIONARY GOSSIP.......................................................... 26 How Gossip Works .................................................................. 27 Dubliners: Joyce’s Tricky Triangular Gossip .......................... 36 A Portrait of the Artist as a Young Man: The Trap of Judging Stephen..................................................................................... 40 Exiles: The Manipulation of Triangular Gossip....................... 55 Ulysses: The Embrace of the Outsider ..................................... 59 “Molly Bloomagain”: Molly, the Censorship of Ulysses and Gossip....................................................................................... 76 Finnegans Wake: Inclusive Circular Gossip ............................ 84 III “THE WAR, SO BLINDLY WAGED ON THE WRITTEN WORD, HAS LEFT ITS MARK”: DJUNA BARNES AND THE ix CHAPTER Page STIGMA OF LEGITIMACY......................................................... 96 Legitimacies: Some Definitions............................................... 97 Ladies Almanack: A Telling Portent ........................................ 100 Ryder: Expurgation and Barnes’s Reaction ............................. 104 Nightwood: The Stigma of Editing........................................... 122 The Antiphon: Barnes’s Final Compromise ............................. 138 IV “I AM HOMESICK AFTER MINE OWN KIND”: REVISION, DISPLACEMENT AND THE SEARCH FOR HOME IN THE WORK OF EZRA POUND ........................................................... 151 Pound’s Early Poetry: Victorian Constrictions ........................ 154 Pound and Imagism.................................................................. 156 Ezra Pound and Translation ..................................................... 162 Cathay: Pound’s Invisible Visible Translation ........................ 167 The Cantos: Pound’s Displacement of the Reader................... 183 V “THE PERPETUAL SURGING OF INVENTION”: MINA LOY AND THE DISGUISE OF PUBLICATION ................................. 191 Modernist Authorship: Negotiating Femininity....................... 193 Photographs as Disguise: Loy’s Manipulation of Her Audience................................................................................... 195 “The Effectual Marriage”: Loy’s Poetic Invention .................. 203 “Once Upon a Time”: Loy’s Ambivalent Love Songs to Joannes..................................................................................... 208 An Apology: Loy as Genius..................................................... 212 Loy and Aging: The Fear of Losing the Mask......................... 213 Manifestos: Loy’s Outlandish Prose........................................ 216 Loy’s Papers and Privacy......................................................... 220 Insel: Loy’s Prose Persona ....................................................... 222 Rediscovery and Its Aims: Some Questions ............................ 223 What the Critics Said: Presentations of Loy ...........................
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