Before and After Hormones: Youth and the Eugenic Imagination

In Germany in 1923 everyone was talking about their hormones. This was, in large part, thanks to the popular release of a medical education film called Der Steinach-Film. Der Steinach-Film was sponsored by the Universum Film-Akiten Gescellschaft (Ufa), a German motion-picture production company known for producing artistically outstanding and technically competent films during the silent era, and which from 1918 onwards included a cultural division that produced and distributed medical education films in the name of public hygiene and social reform.

Modernism and Diagnosis

Questions of scientific testing, symptomatology, medical solutions, and epidemiological modeling have been front-page news this past year. But our diagnostic moment began long before the COVID-19 pandemic: from 23andme’s mail-in genetic analysis to WebMD’s online medical symptom checkers; from wearable fitness trackers that get smaller and sleeker with each new model to books and web series that promise inner joy through a simplified material existence; from a resurgence in theories of genetic determinism born of “scoring” individual genomes to the advent of a professional field dedicated to “diagnosing organizational culture.”

Grievability, COVID-19, and the Modernists’ Pandemic

For the past five years, I have been immersed in research on the 1918-1919 influenza pandemic and the unexpected ways it weaves its way into modernism. My book on the topic came out last October, about two months before a worrisome new illness began to emerge in Wuhan, China.[1] We all want our research to be relevant, to be able to articulate the critical “so what” question we struggle to answer in grant requests and cover letters. But the sudden thrust into an actual version of the sensory and affective climate I’ve been studying for so long has been surreal and unsettling, like a B movie where an author awakes to find her work has come to life. Even as we expose troubling elisions and injustices within the works we analyze, we may still use theory as a buffer between us and the world, and the past as a shield against our present realities. When a radio program recently approached me about an interview on Viral Modernism, they said that their listeners had been overwhelmed by COVID-19 coverage and would find it comforting to hear about a pandemic safely in the distance. I understood what they meant, even if patterns of viral and human behavior threaten to make the past the present.