Modernism’s such a lot contentious opponents, James Joyce and D. H. Lawrence, are typically noticeable as opposites. this is often the 1st publication to discover the resonances among the 2 writers, revealing that their lives, works, and careers have impressive similarities. For starters, they shared a similar literary agent, released within the similar literary magazines, fought comparable criminal battles opposed to censorship, and have been either pirated via Samuel Roth.
The parallels run deeper. This quantity revels in writers who proportion vintage modernist paradoxes: either are immediately syncretists and shatterers, bourgeois cosmopolitans, prudish libertines, displaced nostalgists, and rebels opposed to their local lands. those essays think of mutual issues akin to gender, type, nature, and faith, highlighting the various intersections one of the matters that involved either Joyce and Lawrence. Modernists at Odds is a protracted late prolonged comparability of 2 of the main compelling writers of the 20th century.
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Additional resources for Modernists at Odds: Reconsidering Joyce and Lawrence (The Florida James Joyce Series)
Example text
The symptoms are dramatized much more clearly in Lady Chatterley’s Lover and precede the affair with Mellors by some time: “Vaguely she knew herself that she was going to pieces in some way. Vaguely she knew she was out of connection: she had 29 30 Margot Norris lost touch with the substantial and vital world” (LCL 20). 104). This is less than Connie’s lost touch with the vital world, but it still implies Molly’s need to feel fully alive again. In both novels the most satisfying experiences of love and making love occur in a vital connection with the outdoors.
The five sex scenes in Ulysses include both Bloom’s and Molly’s versions of the episode on Howth, Bloom’s unconscious projection of Molly’s copulation in the afternoon, Bloom’s vicarious sex act with Gerty MacDowell and concomitant masturbation, and Molly’s recapitulation of her afternoon with Boylan. While all of these are explicit and realistic in their narration, in none of them except the masturbation (vicarious in itself) does the act occur as an actual event in the book. Rather they occur in the minds of the characters either as speculation or retrospection.
Clifford is cuckolded, defeated, and reduced to childishness in his inner life, while he achieves supermanhood in his external business dealings. Bloom’s home and marital prerogatives are usurped, but he remains unbeaten. Clifford’s literary and industrial victories likewise enable him to carry on. The difference is that Clifford’s handicap is symbolic of his spirit, which forces him into a life of the outside world because of his shriveled personal life. Bloom, however, chooses of his own free will to face a hostile outside world, and the same spirit, love, and equanimity that he manifests in that world are brought to bear on his home life.