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• W2085984902 abstract "Reviewed by: Modernist Travel Writing: Intellectuals Abroad Alexandra Peat Modernist Travel Writing: Intellectuals Abroad. David G. Farley. Columbia, MO: University of Missouri Press, 2010. Pp. x + 236. $39.95 (cloth). David G. Farley’s Modernist Travel Writing: Intellectuals Abroad explores the connection between the stylistic innovations of modernism and the development of the travel narrative as a modern genre. The book compares the narratives of four modernist travelers whose names have all, albeit in different ways and for different reasons, come to be synonymous with formally experimental modernism: Ezra Pound, e. e. cummings, Wyndham Lewis, and Rebecca West. There is, Farley suggests, something unique about the experience of travel in the epoch between the two world wars, an age characterised by not only the increasing democratisation of travel but also the various ways in which travel, so long emblematic of a search for escape, was becoming more and more regulated by bureaucratic strictures. Farley convincingly argues that the singular experience of interwar travel is intimately connected to the development of an equally unique body of late modernist travel narratives in which formally innovative writers found the “travel book as a fit vehicle for their modernist style” (3). As its title suggests, Modernist Travel Writing makes a case for the mutually constitutive relationship between modernism and travel writing; more broadly, Farley claims that literary modernism played a significant role in the emergence, development, and increasing popularity of the travel genre throughout the twentieth century. The book is thus targeted both at students and critics working in the modernist period and those researching the broad historical development of the travel narrative. One of the most valuable contributions that Modernist Travel Writing makes to current scholarship is found in Farley’s skilful interweaving of an in-depth analysis of various stylistic features of modernist writing with a well-researched discussion of the real-world experience of travel in this period. Our critical understanding of modernism as an elitist or “difficult” literature concerned only with aesthetic matters of formal innovation has been challenged in recent decades by studies that focus on space and place, rather than just style, and posit travel as a pivotal plot and central metaphor in modernist writing. The resurgence of interest in the material experiences of modern travel is evidenced in work by James Buzard, Karen Caplan, and Andrew Thacker (to name only a few examples), and represents a key critical turn away from the formalist values associated with New Criticism’s construction of modernism. Yet, as Farley both argues and persuasively models throughout Modernist Travel Writing, a close reading of modernist form is not incommensurate with historicist and materialist approaches; indeed, such close reading is perhaps best achieved when it is situated in an awareness of historical, geographical, and political contexts. Farley’s book deftly demonstrates how innovative and more expansive critical approaches to modernism need not necessarily lead us only in one direction—in this case, away from old ideas about modernist formalism—but can instead lead us back to reconsider received ideas and revitalize familiar topics. The critical border crossing that Farley achieves by connecting discussions of form, theme, and genre, precipitates the crossing of other borders, including the traditional historical demarcations of modernism. As Farley locates his scholarship in relation to both studies of travel writing by Paul Fussell and Bernard Schweizer and studies of late modernism by Tyrus Miller and Marina McKay, he complicates the “between the wars” designation that all of these share, noting that it “has become a convenient historical and critical category” that nonetheless risks giving “a deceptively uniform sense to the entire period” (11). The historical nuance evident in Farley’s distinction between different stages of modernism is valuable, and it is also reminiscent of Malcolm Bradbury’s division between the first (nostalgic, solipsistic, and formalist) and second (more optimistic) phases of modernism in Possibilities: Essays on the State of the Novel (1973). [End Page 405] On the one hand Farley risks constructing his nuanced sense of interwar modernism in opposition to a rather monolithic view of “traditional modernist masterworks” that belong to the period of “rigid form” and “brash” manifestos (4, 5); on the other hand, his discussion of late..." @default.
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• W2085984902 title "<i>Modernist Travel Writing: Intellectuals Abroad</i> (review)" @default.
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• W2085984902 doi "https://doi.org/10.1353/mod.2012.0044" @default.
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