Janine Utell is Distinguished University Professor and Chair of English at Widener University. She is the author of Engagements with Narrative and James Joyce and the Revolt of Love. She has several projects forthcoming, including Literary Couples and 20th Century Life Writing from Bloomsbury. She is Editor of the journal The Space Between: Literature and Culture 1914-1945.
Jia Tolentino in The New Yorker describes a spate of current essays by men disgraced by #MeToo, essays that speak of what these men have lost personally and professionally and their quest for redemption, as bearing “the gravitational pull of male power . . . exerting itself, turning our attention back to the place where it has been trained to linger: the hero’s journey of men.”
Those of us who study modernism have also been, perhaps, trained to linger on the hero’s journey of men. The contours of the field early on, indeed, were shaped by such hero’s journeys. Paul Saint-Amour, in the introduction to the special issue of Modernism/modernity on “weak theory,” casts these contours as explicitly masculinist, writing that we have “equated” modernism with “warrior masculinity” and that the “heroic ‘men of 1914’ script likely compounded baseline cultural and institutional prejudices in effacing” women writers and others. Recovery work has raised up silenced or unheard voices, even as the value placed on those voices and that work by the structures of prestige and power that define academia is sometimes measured in coffeespoons. Rai Peterson, in arguing that we should attend to how women modernists like Nancy Cunard and Hope Mirrlees speak back to T. S. Eliot, has pointed out that “[r]eaders . . . [still] believe that Eliot’s work speaks definitively for its age.” It matters who gets to speak and who does not, and for whom, and how we hear what they say. In engaging the topic of this roundtable, I’m coming from the perspective of someone who has devoted her career to undergraduate teaching, and who has thought a lot about feminist pedagogy and gender and sexuality in the classroom and in academe. In reading “The Waste Land” in the context of #MeToo, what space might students as well as emerging critics find for their own voices? Can they speak back to certain voices—and thus ways of reading—that dominate? Or are those voices—and ways of reading—silencing in their very volume?
For this two-part installment of Process, I asked eight scholars who had just finished a book—their first or their fourth—to write informally about their experience. Conferences often feature roundtables about writing and publishing, but I thought it might be a good addition to have some personal anecdotes, stories less attached to the mechanics of the industry and more to the quiddities of the book-writing process. A book might arrive as an artifact, but it begins as a dream or a compulsion or a hunch. No review or reading, however generous, does justice to the messiness of the life that seals itself into the final object of the book, as though in anticipation of the spell that may someday release it. The intent here is not so much to demystify as to re-enchant.