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Liminal space and site of transformation, with the capacity \"to disrupt expected plotlines\" and temporalities, the tidal zone serves, throughout Modernism at the Beach, as an overdetermined marker, a nexus of both/and, lying at the border of land and sea, \"industry and pleasure,\" nature and artifice, both a \"classroom\" for heterosexuality and a site for non-normative experiment (66, 2, 16). Working through the lenses of queer theory and ecological critique, and enlarging on her previous important theoretical work on modernist setting, Freed-Thall spans a century of tideland inspiration, moving from a trio of close readings-on Marcel Proust, Woolf, and Rachel Carson-to two more sprawling chapters that survey urban and contemporary beach effects under heightened conditions of capitalist fatigue and climate threat. The proliferation of shoreline lifeforms and their range of temporal and spatial scales allow for the refiguring of the human body in an interspecies context and a concomitant freeing from the constricting particularities of human society.

This introduction teases out the productive tension between female characters in modern fiction and the implied author as modeled by Mary Mc-Carthy's The Group . Fiction writers dramatize both women's intellection and self-expression and the barriers to that public role. Modern and contemporary women writers blur the lines between essay writing and fiction, professional and intellectual personae, and novelistic narration. Feminist theory also adapts fictional modes to speculate about living otherwise. Our special issue contributions feature collaboration, archives, praxis, the corporeal, and the posthuman. We highlight contemporary fictional modes of women thinking in public, particularly the weird and the everyday.

[...]in the novels of Elizabeth Bowen-whose work serves as a connective thread-junk mail is a site of dissipating meaning, which \"transforms the postal system into a means of circulating waste\" (91); throughout her fiction, the \"improper circulation of unwanted mail\" corrupts \"the relationship between mind and matter\" (89). What E.M. Forster called \"a battle of books against bonfires\" (qtd. in Rosenberg 117) was also, and more complexly, Rosenberg argues, a war in which books became bombs, in which the destructive potential of paper (literally recycled into the making of shells, as HD so memorably evokes in \"The Walls Do Not Fall\") saw \"one kind of book-death... utilized to defeat another\" (132). The wastepaper modernists may write about destroyed pages, but they do so within perfectly intact books\" (195). « (https://scalar.usc.edu/works/the-space-between-literature-and-culture-1914i945/voli9_2023_butts_review_davis?path=voli9_2023_contents) Continue to \"Review | Dynamic Form: How Intermediality Made Modernism\" (https://scalar.usc.edu/works/the-spacebetween-literature-and-culture-19141945/vol 19_2 o 23_lewis_review_rooney? path=voli9_2O23_contents) The Space Between Society Version 7 (https://scalar.usc.edu/works/the-space-between-literature-and-culture-19141945/voll9_2023_rosenberg_review_cohen.7) of this page, updated 1/22/2024 | All versions (https://scalar.usc.edu/works/the-space-between-literature-and-culture-19141945/voll9_2023_rosenberg_review_cohen.versions) | Metadata (https://scalar.usc.edu/works/the-space-betweenIiterature-and-culture-1914-1945/voll9_2023_rosenberg_review_cohen.meta) (http://scalar.usc.edu/scalar) Powered by Scalar (http://scalar.usc.edu/scalar) (2.6.6 (https://github.com/anvc/scalar)) | Terms of Service (http://scalar.usc.edu/terms-of-service/) | Privacy Policy (http://scalar.usc.edu/privacy-policy/) | Scalar Feedback (http://scalar.usc.edu/contact/)

Tellingly, the journal appears in none of the major reference books on periodicals, including Peter Brooker and Andrew Thacker's recent Oxford Critical and Cultural History of Modernist Magazines and Alvin Sullivan's 4-volume British Literary Magazines5-which does include the very publications, the New Statesman and the Spectator, that the BBC used as comparators. [...]too, might the emphasis on the \"souvenir\" value of the centerpiece photocollage of \"Masters of the Microphone,\" advertised in the issue as available in collotype reproduction. 103 Yet the centerpiece itself, in the Listener's own anniversary issue, celebrates not the accomplishments of the journal, but (like many of the \"birthday\" encomia the issue contains) those of BBC radio; and the mechanism of the photocollage, which uncomfortably and amusingly juxtaposes broadcasters of very different stripes,104 recalls the very enforced proximity that remediation into the Listener implied.

Test case: the Listener The Listener, the weekly journal founded by the bbc in 1929, represents a particularly useful site for yielding insights into both the competing media (and media institutions) of its historical moment and the formal traces of that competition. Because the journal, launched to legitimize, promote, and reproduce radio content in the form of an upmarket weekly like the Spectator,2 both thematizes and enacts the \"strange collision\" of media forms, it can serve as a revealing limit case for the kinds of interactions that are less overt in other periodicals. [...]while one can claim, and many have, that all early twentieth-century periodicals in fact present a degree of instability and generic inbetweenness,7 the Listener goes further, offering competing cues deriving from the postures of listener and reader and mediating the positioning of each. [...]the more homely elements of bbc programing generally disappeared from the Listener's pages until wartime instituted a more inclusive mode of sociability. Aarseth's model of an ergodic text, one with multicursality and either-or choices, stresses the singularity and unrepeatability of decision, of the one-time opportunity of navigating a particular path; in such texts, he says, one is \"constantly reminded of inaccessible strategies and paths not taken, voices not heard ... you may never know the exact results of your choices; that is, exactly what you missed\" (3). Because a pathway through does not wall off other possibilities of recursive revisitation, this description is less evocative of the action of a periodical than it is of the processes I have just described- the intermedial creation, invitation, and decision surrounding a series of sociable occasions, each surrounding a broadcast event never to be repeated.

[...]the treatment of motherhood in Return of the Soldier represents a vital element in the novel's nuanced exposure of the operations of integration propaganda, highlighting the appropriation of maternalism for propaganda purposes as an essential element of wartime discourse. [...]in this ostensibly public novel, the women serve a private function; poster-like caricatures, they project-like Cissie-Britling's own needs and desires, or act as irritants against which he can refine his ideas. [...]the only politically active women Britling encounters are Tory harridans whose appropriation of jingoistic privilege enables his rejection of the rhetoric of hate. [...]in a sense, Britling becomes God, allowing the sacrifice of his beloved son. Where Wells's text, like most wartime novels, defies the war's uncertainty by an assertion of mastery, West's acknowledges rather than defies the war's lack of closure, explicitly making use of the apparatus of the conversion narrative as Peter Brooks says Flaubert made use of Balzacian conventions-as an \"armature of readability\" (177) from which to unsettle those same conventions. [...]Wollaeger's assertion that The Return of the Soldier \"narratizes\" the poster \"Women of Britain Say-'GO!'\" is both correct and limited; it's rather Mr. Britling Sees It Through that does that, casually, as part of its duplication of media tropes.