Early Twentieth-Century Fiction e20fic19.blogs.rutgers.edu Prof. - - PowerPoint PPT Presentation

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Early Twentieth-Century Fiction e20fic19.blogs.rutgers.edu

• Prof. Andrew Goldstone (andrew.goldstone@rutgers.edu)

Office hours: Murray 019, Thursdays 11:30–1:30 or by appointment September 16, 2019. Woolf (1).

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review: “The Art of Fiction”

▶ the very idea ▶ the taste for the real

▶ “Be one of the people on whom nothing is lost!” ▶ “a direct impression of life” ▶ the “air of reality”

▶ the taste…of freedom

▶ “questions of morality are quite another affair”

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realism relay

The only reason for the existence of a novel is that it does attempt to represent life. (James, 378) Life escapes; and perhaps without life nothing else is worth while. (Woolf, 149)

SLIDE 5

“modern” fiction

This, the essential thing, has moved off, or on. (149) These three writers [Wells, Bennett, and Galsworthy] are materialists. It is because they are concerned not with the spirit but with the body that they have disappointed us. (147) “The proper stuff of fiction” does not exist; everything is the proper stuff

• f fiction, every feeling, every thought. (154)

We must grant the artist his subject, his idea, his donnée; our criticism is applied only to what he makes of it. (James, 394–95) The problem before the novelist at present…is to contrive means of being free to set down what he chooses. (152)

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“modern” fiction

This, the essential thing, has moved off, or on. (149) These three writers [Wells, Bennett, and Galsworthy] are materialists. It is because they are concerned not with the spirit but with the body that they have disappointed us. (147) “The proper stuff of fiction” does not exist; everything is the proper stuff

• f fiction, every feeling, every thought. (154)

We must grant the artist his subject, his idea, his donnée; our criticism is applied only to what he makes of it. (James, 394–95) The problem before the novelist at present…is to contrive means of being free to set down what he chooses. (152)

SLIDE 7

“modern” fiction

This, the essential thing, has moved off, or on. (149) These three writers [Wells, Bennett, and Galsworthy] are materialists. It is because they are concerned not with the spirit but with the body that they have disappointed us. (147) “The proper stuff of fiction” does not exist; everything is the proper stuff

• f fiction, every feeling, every thought. (154)

We must grant the artist his subject, his idea, his donnée; our criticism is applied only to what he makes of it. (James, 394–95) The problem before the novelist at present…is to contrive means of being free to set down what he chooses. (152)

SLIDE 8

life: discussion

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower

• f innumerable atoms; and as they fall, as they shape themselves into the

life of Monday or Tuesday, the accent falls differently from of old…so that, if a writer were a free man and not a slave, if he could write what he chose… there would be no plot, no comedy, no tragedy, no love interest

• r catastrophe in the accepted style, and perhaps not a single button sewn
• n as the Bond Street tailors would have it.

Let us record the atoms as they fall upon the mind in the order in which they fall….Let us not take it for granted that life exists more fully in what is commonly thought big than in what is commonly thought small. (149– 150) How does the title story of Monday or Tuesday realize this program—or not? Focus on technique.

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life: discussion

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower

• f innumerable atoms; and as they fall, as they shape themselves into the

life of Monday or Tuesday, the accent falls differently from of old…so that, if a writer were a free man and not a slave, if he could write what he chose… there would be no plot, no comedy, no tragedy, no love interest

• r catastrophe in the accepted style, and perhaps not a single button sewn
• n as the Bond Street tailors would have it.

Let us record the atoms as they fall upon the mind in the order in which they fall….Let us not take it for granted that life exists more fully in what is commonly thought big than in what is commonly thought small. (149– 150) ▶ How does the title story of Monday or Tuesday realize this program—or not? Focus on technique.

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Red is the dome; coins hang on the trees; smoke trails from the chimneys; bark, shout, cry “Iron for sale”—and truth? (“Monday or Tuesday,” 36, qtd. by NF)

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Desiring truth, awaiting it, laboriously distilling a few words, for ever desiring—(a cry starts to the left, another to the right. Wheels strike

• divergently. Omnibuses conglomerate in conflict)—for ever desiring—

(the clock asseverates with twelve distinct strokes that it is mid-day; light sheds gold scales; children swarm)—for ever desiring truth. Red is the dome; coins hang on the trees; smoke trails from the chimneys; bark, shout, cry “Iron for sale”—and truth? (“Monday or Tuesday,” 36)

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Virginia Woolf, c. 1927. Wikimedia Commons

1882 b. London 1905–1907 teaches night school 1907– Bloomsbury group 1915 The Voyage Out 1917 “Woolves” found Hogarth Press 1919 Night and Day 1921 Monday or Tuesday 1925 Mrs. Dalloway (Hogarth); 1927 To the Lighthouse 1928 Orlando 1929 A Room of One’s Own 1931 The Waves 1938 Three Guineas 1941 d.

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The Hogarth Press

Covers of Two Stories (1917) and Monday or Tuesday (1921). “Hogarth Press: Books Printed by Hand,” University of Delaware Special Collec- tions.

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endings

Waking, I cry “Oh, is this your buried treasure? The light in the heart.” (“A Haunted House,” 11; qtd. by Meggan) It was a snail. (“The Mark on the Wall,” 91)

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endings

Waking, I cry “Oh, is this your buried treasure? The light in the heart.” (“A Haunted House,” 11; qtd. by Meggan) It was a snail. (“The Mark on the Wall,” 91)

SLIDE 16

consciousness

Radiating to a point men’s feet and women’s feet, black or gold- encrusted—(This foggy weather–Sugar? No, thank you—The common- wealth of the future)—the firelight darting and making the room red, save for the black figures and their bright eyes, while outside a van discharges, Miss Thingummy drinks tea at her desk, and plate-glass preserves fur coats— (“Monday or Tuesday,” 36)

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consciousness

She perceived: Radiating to a point men’s feet and women’s feet, black or gold- encrusted—(This foggy weather–Sugar? No, thank you—The common- wealth of the future)—the firelight darting and making the room red, save for the black figures and their bright eyes, while outside a van discharges, Miss Thingummy drinks tea at her desk, and plate-glass preserves fur coats— (“Monday or Tuesday,” 36) Stream of consciousness is best thought of not as a form but as a particular content of consciousness, characterized by free association, the illusion of spontaneity, and constant micro-shifts among perception, introspection, anticipation, speculation, and memory. Brian McHale, “Speech Representation,” in The Living Handbook of Narra- tology, 2014.

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How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it. (“The Mark

• n the Wall,” 79; qtd. by LE)

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interior monologue

The wonder is that I’ve any clothes on my back, that I sit surrounded by solid furniture at this moment. If one wants to compare life to anything,

• ne must liken it to being blown through the Tube at fifty miles an hour—

landing at the other end without a single hairpin in one’s hair! (“The Mark

• n the Wall,” 81)

SLIDE 20

interior monologue

The wonder is that I’ve any clothes on my back, that I sit surrounded by solid furniture at this moment. If one wants to compare life to anything,

• ne must liken it to being blown through the Tube at fifty miles an hour—

landing at the other end without a single hairpin in one’s hair! (“The Mark

• n the Wall,” 81)

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Whose life?

He was in process of saying that in his opinion art should have ideas behind

• it. (80)

SLIDE 22

Whose life?

He was in process of saying that in his opinion art should have ideas behind

• it. (80)

I, not being a very vigilant housekeeper (82)

SLIDE 23

If it were not for Whitaker’s Almanack!—if it were not for the Table of Precedency! (88)

104

Privy Council in Irelanf. Table of Precedency. Щ)е ILort lieutenant anï JIJÍ0 jnajeetg'ja ttounetl in ïrflanîj. honourable

His Excellency JOHN CAMPBELL, EAIIL OF ABERDEEN,

G.M.P., к.т., G.C.M.G., Lord LÚ'Uti4Ktnt'Oenfral and Gsnfrai Gorvntor

• f Irelatid,

U.K.».

U»G Prince

• f \Valu.4.
• H. H.H. tho Dude of Ctmiumght.

.-Sir Rcnry Campbell -Bann erman. Tho

Lord Chancellor Sir

ВЯШПШ Walkor. Bt.

Diiku of Devonshire. Duke of Abercorn. Marques« of tjondonderry. ManfaeMOf Ormonde. Karl of Westinoîith- Karl of Mcatli. Earl of Fingall. Karl of M:ivu. Karl of Knie. Karl of Bclnioro. Karl of Dmnmm and Mount Karl. Earl of Ranfurly. Karl Roberts. y$. Viscount Wolseley. Viscount St. Aldwyn. Lord Clonbroek. Lord Adiboarop.

• Lord. O'Iïrbn (Ы. С JJ,

Lord Allerton. Lord Barrvmore. Lord Onmfcll. Lord Atkinson. Lord Hemphill. Lord Pirrie, Augustine íiirrell fC'hitf Ar. Л Hedge* Куге Chatterton (ficv-Ch,), CbrfitOpbM I':illc.if/,(/.

f'A. Ibiron). Gerald KitzOibbon (Lont Jmticc).

Huiirv Brnen.

• Win. Moore Johnson (Judge K.K.J,

Sir George Otto Trevely.'in,

Ifcu-t.

Sir Aiitirew Marshall Porter, liart.

.Sir WiUbiu Hart U.vke, Hart.

Hugh Holm«» /£un/ Jnieiwi. John Morley. John Young. Arthur James Half our. John Goorgo (iibson f'/ittfy

).

Sir Rodvern II. Huiler, >'ùr. Sir Henry Her\4'V Bnicu, Bart. Sir JoHnfa West 'Hi'lKUWay. Dodgfinn H. MîuliUm fJiubffJ, Tlioni;w Alexander Dickson. Gerald

• W. Balfuur.

Thomas Sinclair. Sir Kdward Henry Caraon.

• Ilion. Sir Hortwo Curzoii Plnnkctt.

^Viltlam Drennan Andrews t Sir David llama. "íeorKo Wvndham. William ken Jonathan Hogg. John ROMS {Iv.tltff). Mir Hunrr AiiKustiis Robinson. Frodericfc Wrench. Sir Autour Patrick MacDonnell. Sir John Charlea íteady Colomb. 'Пк'иихя Andruw«. Walter II nine Long, .lame« Brrcc. Sir Frederick Richard Falkincr. юл Henry Мп.ччеп (^iinpUtll. Sir Kowland ЕЙШВвГЬМВК. Bíirt. Sir Patrick UolL Richanl Robert Clierry. Sir Francis

• K. W. MaunoghU'ii,

Bnrt. Alexander M. Carlisle. Robert Young.

%rt

• / fte Cvuncil,

Sir Jamen В. Dougherty,

C.B. (Dublin Castle).

fmbers of the Privy Council of Ireland, like those of England, are addressed as The

E: i . I . i Honourable.

{Table

• f

Vire -Olí nmbcrlain of Но The Sovereign. The Prince of Walen.

Grandisone

• f the Sovereign.

Bovereicn'« Brothers. Sovereign's Uncle«. Sovereign's Nephews. ЛтЬаввааогв. Archbishop

• f Canterbury.

Lord High Chancellor. ArohMshoi» of York. Prime Minister. bird Cliitneollor »f Ireland. Tx>nl President

• f the ООШНШ*

Lord Privy Seal. Five following State Offiren if Dukce: ii) Lord Great Ohamberlaln ion duty). <я\ ' , l Mnrahnl. (3» Lord St^wanl. (41 Lonl C'hamborlain. '5! The M ¡inter of the Hone. líukcü. :.. ..|ifinh- to their Patente

• f

Creation :

• i. Of England

; a. Of Scotland ; 3. Of <iPCAt nritaiu;

• 4. Of Ireland

; 5, Those created nnco the Union. Elduat none of Dukce of Blood Royal. l'ivtuiîXrt'oStnteOfficerflif M апшено^в. >1агцией*е*. in nime order ял Dukce. Duki*' eldest Son».

Fire al»ove Stute Officurs if Karle. Karl«, in вате order as iHikt?«. Younger sons of Dukes of Blond Royal. MuriiuesîWi' eldeet

Sonn. T>u!ies' rounder Hons. Five above State Officers if Viscount*. Viscount*, in name order as Dukce. ЕкгЬ' rldcst Sonn. Marqueaees' younger Soni. Bishoi*a

• f I»mlon,

Durham and AVinchceter. All other ЕпдПяп IMehops. according to their «eniority of ООПЕНПЛяо, Five above SUt« Offinir« if Иягопч.

• .

г. - .., j.-

• f -i .i if of the degmi

nf n Ibiron. IlaronJif, in name outer us Dukca. Speaker of the ITouee of Commun.*.

Тгмпт

• f H. M. 'и Houwhol.l.

Comptroller

• f H.H. 'в Hoiimhold.

:crctariea oí Ht^te under

• f liaron.

Viwoimts' elüc-et Sone. Earln' уочпдег Sons. liaron«' eldest Кчпн. __ light« of the (iarU'r if < 'orninoniin». Privy Councillor* if of no higher rank. Chancellor of tbe Exeho<iuer. Chuiiccllorof tin? IhK-hy of [ЛМНЙК Lurd Chief Jmlice of England. Mnstur of the RolU. The Lonlti Jtieticee

• f

At>j>cal and I'n'MiilL-iit

• f tb'-' Pmluito Court,

JudRca of the High Omit. VÍN;.-oiiute' younger Sime. IbiroiiH younger Son». Sons of Mfe Peer». Bunmctflof eil her К ¡пЫшл. according to -liit^ of Patent*. Knight« Crand M.- of the Bath. Knight* Orand <.'onim.onders of the Htarof India. Knighte Ontnd (.'rose of Ht. Michael and Ht. t.íeorgv. KiiighU (iraud í'omniftiuleni of l (tu Indian Emiiiro. Knighte íinmd CÎTO*JO/ th« Royal Vietorian Order. Knights Oomminaan

• f the above

Urdere. К nil- lit- Itarhelont. Oimmonderri of tin- Ruval Victoriao Order. fudge«

• f County Court« ami .Tudgos

uf the City "t bin.ion Court. Serjeant* at law. Ч i i : . in LurmrV. Оаицшиаш

• f the R-itb. Star of India,
• St. Michael and St.. Ueorge,

Itidixn Kinpire. Memljent 4th Clase of the Royal Victorian Or-ler.

* Service Order Guiu])aniouH

• f t lu* Itmwrial

Service Order, fildeat Sons of уоипксг Hone of I'.-rnt. Tbn.iift« .-l.trtit S-.ÍIÍ. l'lii'^: N»ti> ni Kuitflil« iii onler of their 9E9m» Member- 5th Ola« of the Royal Vietorian Order.

i ounger Sons of tbe vounger 8сли

• f Реегв.

TîarunetH' youncer Копя. Younger Sonn of Knights in the e&me

• nh-r as tbeir Tftthei-s.

Naval, Milit-M ,. and other Eequirei by Office. ЛУотеп Utke the »une rank ne theii liitnb:iiidn or an their eldest brothei-я ¡ it the daughter of a Peor mnrrying л immuner retniíiH her title as Lad>

• r Hunourabli!.

1'auphU-ri*

• f Peon

rnnk next imraediatuly after thi «n-en

• f

their elder brother*, and bafon their younger brother*' wivcn,

l»;tUK')itcre of ГМН marrying Pours

• l

lower »legre« tnko the same

• nlcr
• l

in К0авО0 as that of their ЫшмамЬ ¡litis the daughter

• f ft Dnke

marry ing a Baron degrade« to the rank 01 DUOMM

• nly, while

her (datera mar ricfl to commoners retain their rani mid tiike prei'ctlenee

• f the

Baron*>ws Mpivlv official r;ink on the ЬияЬнлгГ:

Hirt

ШОИ not give any Bimilar i»re cedence to the wife. For faller tabb-< "WntTAKER's PKEHAGK, BAHOMT n, KxiUllTAliE ANI> CoMPANIONAAE,' I 'P- 73-75- Tliere яге three1 Onlcrs confinai t' T/t(l im: The OH«r of Victoria »iic Alt-crt. the <-i4>wn of India, anil th« Itoyal Rtxl Сгояя. Hut members an entitle«! to no special precedence. I/OCAL PRECKDKXCT. No

irrittci

ОМЯ of coimty

• r city ortlcr
• f pre

ОЮЮОв Ьая lieen iir«-»mulgat«l. пч iwiturally

in the county the

Глчч [,ii>utcii.-nit st.-n nlî. first, and oeoondl' the SherifT.

In

London and Oft» Coq »orations, the Mnvor г mils first nfter him the Alderuicii. Hht-rifl Chief (»ffii-t-r«. and Liven.

At Oxfon

aiul Cnnibridee tin- Hfirli Sli»rin't:ik.i precedence

• f thi- ГШПМЯМШвНт;

nu»

Joseph Whitaker, An Almanack for the Year of Our Lord 1908 (London: Whitaker, 1907; HathiTrust), 104.

SLIDE 24

real vs. “real”

How shocking, and yet how wonderful it was to discover that these real things, Sunday luncheons, Sunday walks, country houses, and tablecloths were not entirely real. (85) And if I were to get up at this very moment and ascertain that the mark on the wall is really—what shall we say?—…what should I gain?—Knowledge? (87) I feel a satisfying sense of reality which at once turns the two Archbishops and the Lord High Chancellor to the shadows of shades. (89) the air of reality (solidity of specification) (James, “Art of Fiction,” 390)

SLIDE 25

real vs. “real”

How shocking, and yet how wonderful it was to discover that these real things, Sunday luncheons, Sunday walks, country houses, and tablecloths were not entirely real. (85) And if I were to get up at this very moment and ascertain that the mark on the wall is really—what shall we say?—…what should I gain?—Knowledge? (87) I feel a satisfying sense of reality which at once turns the two Archbishops and the Lord High Chancellor to the shadows of shades. (89) the air of reality (solidity of specification) (James, “Art of Fiction,” 390)

SLIDE 26

the transfer of confidence

Exterior events have actually lost their hegemony, they serve to release and interpret inner events. (Erich Auerbach, Mimesis: The Representation

• f Reality in Western Literature, trans. Willard R. Trask [Princeton U.P.,

1957], 538) A transfer of confidence: the great exterior turning points and blows of fate are granted less importance. (Auerbach, 547) “Curse this war! God damn this war!” (“The Mark on the Wall,” 91)

SLIDE 27

the transfer of confidence

Exterior events have actually lost their hegemony, they serve to release and interpret inner events. (Erich Auerbach, Mimesis: The Representation

• f Reality in Western Literature, trans. Willard R. Trask [Princeton U.P.,

1957], 538) A transfer of confidence: the great exterior turning points and blows of fate are granted less importance. (Auerbach, 547) “Curse this war! God damn this war!” (“The Mark on the Wall,” 91)

SLIDE 28

next: read, bring printouts

▶ Monday or Tuesday, cont. ▶ A Room of One’s Own, chap. 3, on Sakai ▶ “The Death of the Moth” and “Street Haunting,” on Sakai (same file)