If “expansion” has been the watchword of the past two decades of modernist studies, as Rebecca Walkowitz and Douglas Mao have it, we could be excused for identifying Peter Kalliney’s Commonwealth of Letters: British Literary Culture and the Emergence of Postcolonial Aesthetics (2013) as a signal instance of this trend. The operating principle of Kalliney’s monograph is one of extension: of the geographic edges of modernist cultural production; of the chronological boundaries of the movement; of the range of cultural forms that might be brought under scholarly scrutiny; and of the forms of attention that might be applied to systems of literary influence, promotion, distribution, and debate. Post-Bourdieusian, institutionally-focused, closely-read, globally-minded, belatedly-modernist: the approach signaled by Commonwealth of Letters appears at once invigorating and emblematic of recent shifts in the field. Not yet seven years old, this volume already seems ripe for a forum on “Re/discoveries” not only because it captures the energies of its expansive scholarly moment, but because it has already had a considerable impact on multiple branches of the literary-critical tree. Count my own sub-field of radio studies among those branches that felt the shake: Kalliney’s 2007 article in PMLA, “Metropolitan Modernism and its West Indian Interlocutors: 1950s London and the Emergence of Postcolonial Literature” (which laid out some of the key arguments of Commonwealth of Letters and forms the core of its fourth chapter) has quickly become a touchstone for scholars working at the intersections of media and global anglophone literature, as evidenced by a surge of recent work in the field by Julie Cyzewski, Daniel Ryan Morse, James Procter, Leonie Thomas, myself, and many others.
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Zelda Fitzgerald’s Save Me the Waltz has gone in and out of print since it was first published by Charles Scribner’s & Sons in 1932.
Bill Brown has had things on his mind for quite some time. In The Material Unconscious: American Amusement, Stephen Crane and the Economics of Play (1997), he used Crane’s fiction to explore the disquietingly everyday objects which populate their imagined worlds, not just as descriptive details of the modern, but as strange historical presences telling stories about technology, race, and the lived experience of capitalism that few had found there before.