“But If You Listen You Can Hear”: War Experience, Modernist Noise, and the Soundscape of The Forbidden Zone
By Nora Lambrecht, Johns Hopkins University
Interviewed by the BBC a half-century after his service in the Royal Welch Fusiliers, Robert Graves recalled the impossibility of relating his World War I experience to family in England
Graves: [T]he idea of being and staying at home was awful because you were with people who didn’t understand what this was all about.
By Jessica Berman, University of Maryland
When Orlando falls into his transformative trance at the mid-point of Virginia Woolf’s romp of a novel, he is an agent of the British Empire in Constantinople, at the moment of receiving his newly conferred Dukedom. The ceremony is a pageant of Empire, which gathers “people of all nationalities” to celebrate Orlando’s status, while the text makes frequent reference to the show of British superiority in this event.
By Sarah Gleeson-White, University of Sydney
Hamlin Garland is principally remembered today as a late-nineteenth-century Midwestern regionalist whose fiction and nonfiction—including his fine collection of short stories, Main-Travelled Roads (1891) and his memoir of sorts, A Son of the Middle
By Nico Israel, CUNY Graduate Center and Hunter College
In the 1965 movie Incubus, a pre-Star Trek William Shatner, with characteristic avidity, plays the role of Marc, a wounded soldier who comes to the village of Nomen Tuum in search of curative water (fig. 1). While there, he is seduced by a beautiful young succubus, whose appointed task is to prevent Marc’s recuperation and instead deliver his soul to hell. What transpires is a bit too complicated, or silly, to merit recounting in detail, but suffice it to say