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EMBODIED MODERNISM: THE FLESH OF THE WORLD IN E.M. FORSTER, VIRGINIA WOOLF, AND W.H. AUDEN by KELLY ELIZABETH SULTZBACH A DISSERTATION Presented to the Department ofEnglish and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Doctor ofPhilosophy September 2008 11 University of Oregon Graduate School Confirmation of Approval and Acceptance ofDissertation prepared by: Kelly Sultzbach Title: "Embodied Modernism: The Flesh ofthe World in E.M. Forster, Virginia Woolf: and W.H. Auden" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the Doctor ofPhilosophy degree in the Department ofEnglish by: Louise Westling, Chairperson, English Paul Peppis, Member, English William Rossi, Member, English Ted Toadvine, Outside Member, Philosophy and Richard Linton, Vice President for Research and Graduate StudieslDean ofthe Graduate School for the University ofOregon. September 6, 2008 Original approval signatures are on file with the Graduate School and the University ofOregon Libraries. III © 2008 Kelly Elizabeth Sultzbach IV An Abstract ofthe Dissertation of Kelly Elizabeth Sultzbach for the degree of Doctor ofPhilosophy in the Department ofEnglish to be taken September 2008 Title: EMBODIED MODERNISM: THE FLESH OF THE WORLD IN E.M. FORSTER, VIRGINIA WOOLF, AND W.H. AUDEN Approved: Dr. Louise Westling Modernism's fragmented literary style has been called "an art ofcities." My project challenges such conventional understandings by exposing a strain within modernism that expresses an awareness ofa broader phenomenological world. In the work ofE.M Forster, Virginia Woolf, and W.H. Auden, non-human presences are often registered through a character or speaker's innate sensory perception oftheir surroundings-what I call embodied modernism. Maurice Merleau-Ponty's ecophenomenology theorizes the intercorporeality ofhumans and the environment in ways that help elucidate this aspect oftheir work. Merleau-Ponty uses the phrase "flesh ofthe world" to explain the body as an open circuit embedded within the stimuli oflarger environmental impulses. The uncertainty stirring within modernism's fonnal disruptions, the sensory impressions revealed by stream ofconsciousness techniques, as well as the robust fusion of v latent emotions and unspoken associations that result in a memorable image or symbol invite ecophenomenological readings. Chapter I, "Passage From Pastoral: E.M. Forster," traces a developing phenomenological awareness that is only fully manifested through the formal innovation ofForster's modernist novel, A Passage to India, where landscape intervenes to direct the action ofthe plot. My second chapter, "The Phenomenological Whole: Virginia Woolf," analyzes how her use ofpersonification provocatively disrupts anthropocentrism in "Kew Gardens" and Flush. Her conception ofa more-than-human world also complicates elegiac readings ofTo the Lighthouse by positioning nature not as a sympathetic mirror for humans, nor an antagonistic foil, but rather as a presence that intertwines with human life and renews embodied creativity. "Brute Being: W.H. Auden" shows how Auden's later poems create a lexicon ofcommon cultural assumptions about human identity in a firmly ordered relation with the world but combat their own hermeneutics by slipping towards the opposite binary in any dialectic the poem presents, whether it be scientific order and organic chaos, nature and culture, or human observer and non-human subject. Analyzing the work ofForster, Woolf, and Auden from the embodied perspective ofMerleau-Ponty's ecophenomenology both challenges conventional definitions ofmodernism and expands ecocritical theory. VI CURRICULUM VITAE NAME OF AUTHOR: Kelly E. Sultzbach GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, Oregon University of California, Davis, Davis, California Yale University, New Haven, Connecticut DEGREES AWARDED: Doctor ofPhilosophy, English, September 2008, University ofOregon Doctor ofJurisprudence, June 1998, University ofCalifornia, Davis Bachelor ofArts with Distinction, June 1994, Yale University AREAS OF SPECIAL INTEREST: Modern British Literature Environmental Literature Modern American Literature PROFESSIONAL EXPERIENCE: Post-Doctorate Fellowship, University ofOregon 2008-2009 Graduate Teaching Fellow, University ofOregon 2002-2008 Attorney, Frost Brown Todd, LLC, 1998-2002 Vll GRANTS, AWARDS AND HONORS: Oregon Humanities Center Fellowship, University of Oregon, 2007-08 Oral Exam Passed with Distinction, University ofOregon, 2005 Outstanding Teaching Commendation, 2004-05 "The Ecology ofEmpire in E.M. Forster's A Passage to India," Jane Campbell Krohn Essay Award, University ofOregon, 2004 Jane Campbell Krohn Fellow, University ofOregon, 2002-03 PUBLICATIONS: Sultzbach, Kelly. "The Chiasmic Embrace ofthe Natural World in Eudora Welty's Delta Wedding." Southern Literary Journal. Forthcoming. Smith, Bennett, ed. Free Speech: A Casebook/or Writers. Brian Millington, Kelly Sultzbach, Ben Waller, asst. eds. Casebook Series ofthe University of Oregon Composition Program. Eugene: U Oregon P, 2008. Sultzbach, Kelly. "The Fertile Potential ofVirginia Woolfs Environmental Ethic." Woolfand the Art ofExploration: Selected Papers from the Fifteenth International Conftrence on Virginia Woolf. (Peer-reviewed.) Helen Southworth and Elisa Kay Sparks, eds. Clemson: Clemson U Digital P, 2006. 71-77. Vlll ACKNOWLEDGMENTS I am sincerely grateful to have had a mentor that I trust and admire to guide me through this process. Professor Westling's work was foundational to the inception ofmy project. Moreover, her invigorating conversation and constructive commentary kept my ideas energized and my prose crisp. During the lean months of solitary writing she and her husband, Professor George Wickes, kept me nourished not just intellectually, but also physically, inviting me to their home for dinner and showing me how truly enriching an academic community should be. Paul Peppis's healthy skepticism towards environmental criticism was instrumental in keeping the dissertation grounded in modernist concerns. I am deeply indebted to his willingness to review multiple drafts and share long conversations about literature. The completion ofthis dissertation owes much to the encouragement ofProfessor Westling and Professor Peppis. I am also appreciative of Professor Rossi's thoughtful teaching and careful feedback throughout the span ofmy graduate career. Professor Toadvine graciously assisted me in my use ofMaurice Merleau­ Ponty's ecophenomenology with keen questions and detailed comments. I thank my peers for charged discussions and welcome diversions. The Oregon Humanities Center offered fmancial support and provided contexts for key interdisciplinary dialogue. I also want to acknowledge the University ofWashington Special Collections stafffor assistance in researching their collection ofLeonard and Virginia Woolf's library. Finally, heart-felt thanks goes to my family, who always told me I could pursue whatever made me happy. IX TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. PASSAGE FROM PASTORAL: E.M. FORSTER 18 The Lure ofthe Pastoral in "The Story ofa Panic" and "The Other Kingdom" 22 Anti-Pastoral and the Fantasy ofthe Green Retreat in "The Machine Stops," Howards End, and Maurice 34 Beyond the Pastoral: A Passage to India 61 Notes 84 III. THE PHENOMENOLOGICAL WHOLE: VIRGINIA WOOLF 88 Woolf as a Green Reader 93 Humans and Non-Human Animals in "Kew Gardens," Flush, and "Thunder at Wembley" 98 The Meaning ofa More-Than-Human Life in To the Lighthouse................ 124 Notes 156 IV. BRUTE BEING: W.H. AUDEN..................................................................... 159 Subversive Natural Science and the Human Subject................................... 169 Talking Animal.......................................................................................... 182 Communicating with Place........ 206 Words in the Flesh ofthe World................................................................ 222 Notes 227 V. EPILOGlTE 230 BIBLIOGRAPHY 234 CHAPTER I INTRODUCTION The silence ofthe land went home to one's very heart-its mystery, its greatness, the amazing reality ofits concealed life. [ ... ] The smell of mud, ofprimeval mud, by Jove! was in my nostrils, the high stillness of the primeval forest was before my eyes [ ... ] All this was great, expectant, mute, while the man jabbered about himself. I wondered whether the stillness on the face ofthe immensity looking at us two were meant as an appeal or as a menace. What were we who had strayed in here? Could we handle that dumb thing, or would it handle us? I felt how big, how confoundedly big, was that thing that couldn't talk, and perhaps was deafas welL What was in there? Joseph Conrad, The Heart ofDarkness But I couldn't. I could not tell her. It would have been too dark-too dark altogether ... Joseph Conrad, The Heart ofDarkness And the stage was empty. Miss La Trobe leant against the tree, paralyzed. Her power had left her. Beads ofperspiration broke on her forehead. Illusion had failed. 'This is death,' she murmured, 'death.' Then suddenly, as the illusion petered out, the cows took up the burden. [ ... ] The cows annihilated the gap; bridged the distance; filled the emptiness and continued the emotion. Virginia Woolf, Between the Acts This project attempts to answer a problem posed by the ending ofone ofthe first modernist novels, Joseph Conrad's Heart ofDarkness. As I
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