The Predicament of Culture: Twentieth- Century Ethnography, Literature, and Art

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Hiding from Humanity: Disgust, Shame and the Law

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Reading For The Plot Design And Intention In Narrative

Saturday 12 April [1919] These ten minutes are stolen from [Daniel Defoe’s] Moll Flanders … A great writer — & Forster has never read his books! I was beckoned by Forster from the [London] Library as I approached. We shook hands very cordially; & yet I always feel him shrinking sensitively from me, as a woman, a clever woman, an up to date woman. Feeling this I commanded him to read Defoe, & left him, & went & got some more Defoe….

The Diary of Virginia Woolf

ly instead of concretely. He was thus able to base distant determinations on local ones. Canales_rev-proof.indd 342 2/13/15 1:57 PM EINSTEIN’S LAST THOUGHTS 343 Bergson disagreed. Einstein, he argued, was not justified in consid- ering “the concept of simultaneity of two events at approximately the same place” as an unproblematic case. He was not justified in consid- ering simultaneity as the comparison of one event against a watch. He was not justified in removing these difficulties by abstraction. Bergson objected, arguing that Einstein introduced an artificial break between “local simultaneity” and “simultaneity at a distance.” The philosopher insisted that the physicist’s differentiation was spurious: “The distinc- tion between ‘small’ and ‘large,’ ‘not far apart’ and ‘very far apart,’ has no scientific validity,” he concluded.19 By the 1940s some commentators on Einstein thought that the phys- icist had shifted the problem of determining local simultaneity further into the brain, where neuroscientists now had to face it. They had to deal with precisely the question that Einstein bypassed. How did our mind match two events to determine that they occurred “at the same time”? Neurophysiologists faced the challenge of relating a conscious assess- ment (of two events taking place at the same time) to processes taking place in brain cells and carrying the information about these events.20 There they once again faced riddles about the relation of human con- sciousness to the material world. A particular insight that Bergson wanted to defend contra Einstein was that there could be no fixed boundary and therefore no essential difference marking when local events ended and distant ones arose, or between physical ones and mental ones. How powerful was his critique? In the eyes of some, it was so powerful that the entire basis of “empiri- cal” science was called into question. Initial criticisms launched against Einstein for drawing an unnecessarily sharp distinction between the local and the distant grew into a much more damaging argument. They were soon connected to a broad critique of the claim that knowledge was built up from a firm basis of sense-data and extended mathematically, logically, and rationally. Neither Bergson, Whitehead, Martin Heidegger, or Walter Benjamin thought that a sharp distinction could be drawn between the assessment of an event taking place “here” rather than “there,” or “now” rather than “later.” Heidegger argued that scientists obtained accurate measurements only by first assuming that a certain moment (the moment of measurement) could be separated from the rest of time.21 Canales_rev-proof.indd 343 2/13/15 1:57 PM

The Physicist and the Philosopher

Modernist women's literature: an introduction Maren Linett 1. Transforming the novel Bonnie Kime Scott 2. The problem of form in modernist women's poetry Miranda Hickman 3. Women's modernism and performance Penny Farfan 4. Magazines, presses, and salons in women's modernism Jayne Marek 5. Gender in women's modernism Patricia Juliana Smith 6. Black women's modernist literature Thadious Davis 7. Race and ethnicity in white women's modernist literature Jean Radford 8. Geomodernism, postcoloniality, and women's writing Laura Doyle 9. Women modernists and visual culture Maggie Humm 10. Modernism and trauma Suzette Henke 11. Political activism and women's modernism Sowon Park 12. Religion and the occult in women's modernism Heather Ingman.

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The Cambridge companion to modernist women writers

Bodies of Modernism: Physical Disability in Transatlantic Modernist Literature

Introduction: Imagined Jews and the shape of feminist modernism 1. 'Strip each statement of its money motive': Jews and the ideal of disinterested art in Warner, Rhys, and Woolf 2. Transformations of supersessionism in Woolf and Richardson 3. Adding bathrooms, fomenting revolutions: modernity and Jewishness in Woolf and Warner 4. The race must go on: gender, Jewishness, and racial continuity in Richardson and Barnes 5. The 'No time region': time, trauma, and Jewishness in Barnes and Rhys 6. Metatextual Jewishness: shaping feminist modernism Bibliography.

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Modernism, feminism, and Jewishness

Jean Rhys's novels present an intriguing case study for thinking about the status and meaning of fragmented text. With their polyvocal, nonlinear narration, often presented through interior monologues, novels such as Voyage in the Dark and Good Morning, Midnight exemplify modernist fragmentation while intimating a deeper sense of pain and loss than most accounts of such fragmentation acknowledge. In spite of the strong undertone of psychological damage it conveys, the fragmentary nature of Rhys's writing is sometimes celebrated by critics as evidence of a subversive stance, either in Rhys or in her characters. Such a response is not peculiar to Rhys studies, of course, but part of a broader trend in feminist criticism. Molly Hite provides a succinct summary of this trend, describing it as a "strain of feminist criticism" that "has demonstrated that the decentering and destabilizing tendencies of recent experimental writing have a great deal in common with the feminist project of overturning culturally constructed oppositions" (16). While this trend is generally beneficial, when it is applied to Rhys's novels it often leads to overly optimistic accounts of her characters as actively resisting such "culturally constructed oppositions." In turning our traditional expectation of agency on its head, these accounts value Rhys's incisive wit and social criticism, but they also underrate the characters' unsavory but fundamental helplessness. (1) An alternative critical response to Rhys's characters' powerlessness has been to acknowledge but contextualize it, viewing it as a result of their thoroughgoing social oppression. (2) The protagonists are, after all, poor, badly educated, female, and often colonial subjects exiled to the metropolis. Their positions on the extreme edge of multiple axes of exclusion certainly render them powerless in real-world situations. But when we look only to social factors to explain their helplessness, we miss symptoms of what we would now call posttraumatic stress disorder. While social oppression certainly operates, it does not account for the depth with which expectations of and collusion in repeated psychological injury are etched into their minds. So, without wishing to deny the force of their social marginalization, I focus here on Rhys's characters' powerlessness as a function of trauma; (3) and without wishing to dissent from the proposition that fragmented text can perform meaningful linguistic subversion, I focus on Rhys's fragments not in their abstract relation to cultural dichotomies but in terms of the psychic fragmentation they represent. Although critics such as Elaine Savory, Coral Ann Howells, Teresa O'Connor, and Sue Thomas have insightfully discussed Rhys's personal history of sexual trauma, Rhys criticism lacks an account of how trauma informs her textual strategies. Perspectives provided by the burgeoning field of trauma studies allow us to see in Rhys's fragmented narratives negotiations with what Judith Herman calls trauma's "central dialectic" (1): a knowledge so partial that it borders on denial, a revelation so incomplete that it obscures. This approach may be said to risk moving Rhys criticism backward toward what Mary Jacobus has identified as an unstated complicity with the autobiographical "phallacy," whereby male critics hold that women's writing is somehow closer to [women's] experience than men's, that the female text is the author, or at any rate a dramatic extension of her unconsciousness. (520; Hite 14) This is a valid warning against reading innovative narrative as though it somehow emerged, unbidden and unmediated, from a brain that could not attain coherence. However, it elides the difference between refusing a writer artistic agency and seeing her narrative as formally innovative because its author was seeking a literary means by which to represent particular mental processes. My reading emphasizes the highly crafted, purposeful, modernist project of Rhys's narratives, which had to "[break] the sequence" in order to portray her protagonists' fragmented minds (Woolf 85). …

Maren Linett

Papers

The Cambridge companion to modernist women writers

Bodies of Modernism: Physical Disability in Transatlantic Modernist Literature

Modernism, feminism, and Jewishness

"New Words, New Everything": Fragmentation and Trauma in Jean Rhys

The Jew in the Bath: Imperiled Imagination in Woolf's The Years