A Route to Modernism: Hardy, Lawrence, Woolf by Rosemary Sumner

By Rosemary Sumner

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The query 'What is modernism?' has provoked severe serious dialogue. A path to Modernism explores this zone; it specializes in the unusual and hazardous trip taken via Hardy, Lawrence and Woolf in the direction of unknown areas of the brain and the universe. In a dialogue of those novelists, either separately and in terms of each other, a thorough reconsideration of modernism is built. Woolf envisaged her contemporaries 'flashing prior on one other railway line'. A path to Modernism indicates the hypothetical teach of Hardy, Lawrence and Woolf now not following an current tune yet tunnelling underneath surfaces, following routes that are 'spasmodic, fragmentary', occasionally starting off like a rocket into the cosmos. Their fragmented, modernist works deny us 'the convenience of ...a unmarried that means, both in artistic endeavors or within the world'. This booklet bargains new ways to modernism, whereas insisting on books being left 'open - no end come to'.

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And peeps of sky between the trunks were like sheeted shapes and on the tips of boughs sat faint cloven tongues. 7 Ernst's painting even has the hands in green gloves and hints of leaves like weak lidless eyes, though he has nothing as macabre as 'rotting stumps rising from their setting like black teeth from green gums'. 8 Like Hardy, Ernst recognized the part played by fear and 'semimadness' in stimulating the imagination. In Hardy and the Sister Arts, Joan Grundy says that 'we seem to be in the surrealist world of Max Ernst.

Bees hummed around his ears with an intimate a i r . . '3 Andre Masson's 'Summer Frolic' might almost have been painted to illustrate this passage. Hardy insists that we look. He circumvents our tendency to explain away anything that conflicts with our concept of what is normal by giving us description first; explanation (rationalizing about the experience) may follow - or may not: 'the coffin with its twelve legs crawled across the i s l e . . a fishing boat far out in the Channel being momentarily discernible under it'.

Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-17 16 A Route to Modernism 17 walls of the prison'. 79 Birkin's later realization that 'it must happen beyond the sound of words' 80 is no solution for the novelist who has to use words to suggest what is beyond them. In Kangaroo the struggle becomes less abstract and even more anguished: 'speech was like a volley of dead leaves and dust, stifling the air. ' 81 Somers here is almost identical with Bernard in The Waves who needs 'a howl, a cry'.

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