By John Carlos Rowe
In occasions of liberal depression it is helping to have somebody like John Carlos Rowe placed issues into point of view, consequently, with a set of essays that asks the query, “Must we throw out liberalism’s successes with the neoliberal bathwater?” Rowe first lays out a family tree of early twentieth-century modernists, comparable to Gertrude Stein, John Dos Passos, William Faulkner, and Ralph Ellison, with an eye fixed towards stressing their transnationally engaged liberalism and their efforts to introduce into the literary avant-garde the worries of politically marginalized teams, even if outlined through race, classification, or gender. the second one a part of the amount comprises essays at the works of Harper Lee, Thomas Berger, Louise Erdrich, and Philip Roth, emphasizing the continuity of efforts to symbolize family political and social issues. whereas severe of the more and more conservative tone of the neoliberalism of the earlier quarter-century, Rowe rescues the price of liberalism’s sympathetic and socially engaged reason, at the same time he criticizes sleek liberalism’s lack of ability to paintings transnationally.
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Additional info for Afterlives of Modernism: Liberalism, Transnationalism, and Political Critique
The clean mixture is whiter and not coal color, never more coal color than altogether” (TB, 463). ” The French infinitive can be used as a cognate of the English “detain,” but it can also mean to “withhold, hold, or possess,” and these different meanings combine both the coffee outside its cup (having materialized as a stain) and the tendency of language always to defer and imply another connotation. Just as she must use two different languages to express the true qualities of “a piece of coffee,” so Stein struggles to approximate the color of the stain by claiming that its approximation to “yellow is dirtier and distincter,” being “whiter” than that and not the underlying “coal color” of black coffee (463).
As I say a noun is a name of a thing, and therefore slowly if you feel what is inside that thing you do not call it by the name by which it is known. ” 2 A traditional onomastic study of Gertrude Stein’s use of characters’ names would thus appear to be a quixotic project, based on an assumption about the symbolic significance of proper nouns antithetical to Stein’s avant-garde use of language and its special emphasis on verbal action and stylistic performance. Yet the significance of the name Melanctha offers one part of the solution to the intellectual puzzle concerning Stein’s literary representation of race, ethnicity, and sexual identity in Three Lives.
She had begun not long before as an exercise in literature to translate Flaubert’s Trois Contes and then she had this Cézanne and she looked at it and under its stimulus she wrote Three Lives” (The Autobiography of Alice B. Toklas, 39; hereafter ABT). Reclining in a red, high-backed chair and holding a fan, Mme. Cézanne turns her face one quarter of a turn toward the viewer and her downturned mouth, [ 34 ] afterlives of modernism short brown hair, and round face suggest a mask, accentuated by the white paint used to frame the face down the left and up the right sides.
Afterlives of Modernism: Liberalism, Transnationalism, and Political Critique by John Carlos Rowe