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"Mickalites, Carey James"
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Modernism and market fantasy : British fictions of capital, 1910-1939
Examining work from Ford and Conrad's pre-war impressionism through Rhys's fiction of the late 1930s, this text shows how modernist innovation engages with transformations in early 20th century capitalism and how modernist fiction reconfigured capitalist mythologies along the fault lines of their internal contradictions.
Book
Martin Amis’s Money: Negotiations with Literary Celebrity
This essay reads Amis’s Success, Money , and The Information within the context of the contemporary publishing industry, to reveal how this trajectory of novels self-reflexively engages with the production of Amis as a literary celebrity. In each of these works, Amis appropriates the stylistic modes of celebrity production practiced by his modernist predecessors, borrowing from modernism’s cultural capital while adapting it for the contemporary corporate publishing industry. In the process, this essay argues, the fiction self-reflexively negotiates the production of Martin Amis as authorial brand.
Journal Article
THE ABJECT TEXTUALITY OF \THE SECRET AGENT\
[...] the novel defines the intersecting political, economic, and cultural institutions of late- Victorian England by their proximity to abjection and its corresponding anxieties. 12 And yet, in light of these arguments, the novel's emphasis on the psychological role abjection plays in shaping the politics of the public sphere has virtually escaped critical attention.13 Thus, while my reading of the novel relies on these arguments' emphases on the margins of cultural value as places of anxiety, I want to bring to the fore the novel's figurations of abjection and the roles the abject plays in defining and threatening the margins of the urban public sphere and normative - e.g., middle class - subjectivity.\\n Read together with those earlier references to Stevie's dismembered body as a cannibal feast, then, the roast beef sardonically figures both mourning rituals and Verloc's role in killing Stevie (in Winnie's eyes). [...] Verloc symbolically devours Stevie in a pointedly abject communion.
Journal Article
Manhattan Transfer, Spectacular Time, and the Outmoded
[...]in the sprawling historical diorama of 1920s New York that is John Dos Passos' Manhattan Transfer, a jittery fixation on spectacular pleasures of the now, strangely defined by their future outmoded or obsolete status, expresses an epistemology of public being and consumer citizenship that is central to the feeling of temporal and historical dislocation operative within much of American modernism. The rapid technological advance and economic expansion marking the dawn of the twentieth century opens the way for both the boom of early cinema and contingency as a forcefully emergent cultural category, in which change and the experience of time itself \"[become] synonymous with 'newness,' which, in its turn, is equated with difference and rupture-a cycle consistent with an intensifying commodification\" (20). [...]spectacle's denial of its own contingency is part of its temporal structure when this admittedly \"unmodem\" structure is seen in its modemist, commodified form, as repetitively new image-clusters signifying an ongoing dream of capitalist growth.
Journal Article
Neoliberalism in Crisis: A review of The Politics of Debt: Essays and Interviews, edited by Sjoero Van Tuinen and Arjen Kleinherenbrink
[...]what ties the collection together is an insistence that the politics of (enforced) debt is part of a long history of the political erosion of public support in favor of high finance, and that this bad history has come to a head since 2008. [...]under neoliberalism, crisis itself is actively wielded as a tool by corporate and financial elites\" (3). Goodchild begins with The South Sea Company as a case study to explain what he calls \"the debts of politics\" (a tweak on the volume's title), and to show how private debts in the form of taxation and investment—and sovereign authority based in credit (the promise of returns)—come to mutually reinforce each other in a system that relies on the regulatory functions of the banks. For Goodchild, this spells a crisis of faith: \"Once the circle of reliable debtors shrinks to a few state, corporate and financial institutions, then it no longer offers a source of prosperity and longer time horizons for the populace at large\" (72).
Journal Article
Psychic economies of modernism: The material limits of consumer capital
This dissertation examines British and American modernist narrative to articulate a model of the subject of modernity in relation to consumer capitalism during and following the second industrial and technological revolution. I read Dreiser, Joyce, Ford, Freud, Dos Passos, Lewis, and Rhys to show a range of literary interventions into the contradictory ideologies of twentieth century consumerist abundance. These moderns narrate psychic and cultural economies of loss and acquisition, in terms of melancholia and narcissism, gendered disembodiment and collective identification, as effects of capital's expansion and flux. For each of these writers the category of the subject is shaped by the tension between loss and surplus in a consumer economy, and subjectivity, in turn, figures a fictional zone from which to critique a pervasive commodity culture. The traditional understanding of modernism as an effort to transcend the alienated experience of modernity through an authorial precision in assembling the cultural fragments shored up against the ruins of bourgeois society can be reconfigured as a historically immanent process of critique. Modernism, as Fredric Jameson has repeatedly shown, is a historical product of mass commodification. But by showing the continuous creation of new desires to stem from overproduction, modernism also exposes the fundamental contradictions of a capitalist system that devours itself in its necessary expansion. I thus argue that, through its figurations of subjectivity and psychic economies of loss in anxious flux with the market, the modernist text performs a tacit critique of capitalist expansion on its own grounds.
Dissertation
Celebrity Modernism
Jonathan Goldman's Modernism is the Literature of Celebrity shows how the trademark styles developed by a range of modernists shared a promotional logic with the emerging star system. The stylistic trademarks of major modernists produced the idea of the author, a celebrity figure distinct from the writer's material existence yet dependent on audience recognition. As such, modernism is inextricable from the social production of celebrities.
Journal Article
Personal Modernisms: Anarchist Networks and the Later Avant–Gardes
Mickalites reviews Personal Modernisms: Anarchist Networks and the Later Avant-Gardes by James Gifford.
Book Review