Title: Solid objects
First published: 1998
Description: In this study, Douglas Mao argues that a profound tension between veneration of human production and anxiety about production's dangers lay at the heart of literary modernism. Focusing on the work of Virginia Woolf, Wyndham Lewis, Ezra Pound, and Wallace Stevens, Mao shows that modernists were captivated by physical objects which, regarded as objects, seemed to partake of a utopian serenity beyond the reach of human ideological conflicts.

Under a variety of historical pressures, Mao observes, these writers came to revere the making of such things, and especially the crafting of the work of art, as the surest guarantee of meaning for an individual life. Yet they also found troubling contradictions here, since any kind of making, be it handicraft or mass production, could also be understood as a violation of the nonhuman world by an increasingly predatory and imperialistic subjectivity.

If modernists began by embracing production as a test of meaning, then, they frequently ended by testing production itself and finding it wanting.
Subjects: Material culture, Modernism (Literature), Material culture in literature, Production (Economic theory) in literature, History and criticism, European literature, Literature, history and criticism
Places: Europe
Time periods: 20th century
LC classification: PN56.M54 M36 1998