Modernist Fiction and News characterizes uses novel reading of Gertrude Stein, James Joyce, John Dos Passos, and Virginia Woolf to explore how these authors engaged with a rapidly expanding news industry in order to establish an experimental space in which to represent experience with the hope of greater immediacy and faithfulness to reality.

Modernist Fiction and Vagueness examines the development of the modernist novel in relation to changing approaches to philosophy. It argues that the puzzle of vagueness challenged the great thinkers of the early twentieth century and led to dramatic changes in both fiction and philosophy. Building on recent interest in the connections among analytic philosophy, pragmatism, and modern literature, this book posits that literary vagueness should be read as a defining quality of modernist fiction.

“Big, beautiful, ambitious . . . It takes narrative magic to pull off such a loopy combination, and luckily, Reif Larsen has it to spare. His prose is addictive and enchanting.” —Los Angeles Times The moment just before Radar Radmanovic is born, the hospital’s electricity fails. The delivery takes place in total darkness. Lights back on, everyone present sees a healthy baby boy—with jet-black skin—born to the stunned white parents. No one understands the uncanny electrical event or the unexpected skin color. “A childbirth is an explosion,” an ancient physician explains. “Some shrapnel is inevitable, isn’t it?” A kaleidoscopic novel both heartbreaking and dazzling, Reif Larsen’s I Am Radar rapidly explodes outward from Radar’s strange birth. In World War II Norway, a cadre of imprisoned schoolteachers founds a radical secret society that will hover on the margins of history for decades to come, performing acts of radical art and experimental science in the midst of conflict zones from embattled Bosnia to Khmer Rouge Cambodia and the contemporary Congo. All of these stories are linked by Radar—now a gifted radio operator living in the New Jersey Meadowlands—who struggles with love, a set of hapless parents, and a terrible medical affliction that he has only just begun to comprehend. Drawing on the furthest reaches of quantum physics, forgotten history, and mind-bending art, Larsen’s I Am Radar is a triumph of storytelling at its most primal, elegant, and epic: a breathtaking journey through humanity’s darkest hours, yet one that arrives at a place of shocking wonder and redemption. Praise for I Am Radar: “A deeply patterned narrative that darts easily from small-bore domestic dramas to sweeping historical catastrophes with just the right fillip of silliness and levity to keep the whole text eminently ­approachable.” —The New York Times Book Review

Electronic literature is still in its nascent stages, and so too is the field of literary criticism engaging it. While most critical studies of born-digital literature celebrate it as a postmodern art form with roots in contemporary technologies and social interactions, this book provides an alternative genealogy. Digital Modernism examines exemplary cases of electronic literature that renovate modernist texts and poetics as a means of critiquing contemporary culture. This study suggests that by referencing modernism, "digital modernism" reframes that earlier literary tradition around questions of media and technology. Grounding her argument in literary history, media studies, and the practice of close-reading, Jessica Pressman pairs modernist works by Ezra Pound, James Joyce, and Bob Brown, with major digital works like William Poundstone's Project for the Tachistoscope {Bottomless Pit}, Young-hae Chang Heavy Industries's Dakota, and Judd Morrissey's The Jew's Daughter. She demonstrates how the modernist movement of the 1920s and 1930s laid the groundwork for the innovations of electronic literature. Accordingly, Digital Modernism makes the case for considering these digital creations as "literature" and argues for the value of reading them carefully, closely, and within literary history. Moreover, this remarkable study details how and why one of the most maligned of literary spaces, the web -- one accused of fostering reading habits that destroy deep attention and devalue hermeneutic analysis -- is actually the place where serious literature stages its rebellion and renaissance. Even more importantly, perhaps, this book argues for the importance of literature, literary study, and close reading in our digital age.

Modernist Fiction and News characterizes uses novel reading of Gertrude Stein, James Joyce, John Dos Passos, and Virginia Woolf to explore how these authors engaged with a rapidly expanding news industry in order to establish an experimental space in which to represent experience with the hope of greater immediacy and faithfulness to reality.

The first book specifically devoted to the history and prospects of the new modernist studies.

From Henry James' fascination with burnt manuscripts to destroyed books in the fiction of the Blitz; from junk mail in the work of Elizabeth Bowen to bureaucratic paperwork in Vladimir Nabokov; modern fiction is littered with images of tattered and useless paper that reveal an increasingly uneasy relationship between literature and its own materials over the course of the twentieth-century. Wastepaper Modernism argues that these images are vital to our understanding of modernism, disclosing an anxiety about textual matter that lurks behind the desire for radically different modes of communication. At the same time that writers were becoming infatuated with new technologies like the cinema and the radio, they were also being haunted by their own pages. Having its roots in the late-nineteenth century, but finding its fullest constellation in the wake of the high modernist experimentation with novelistic form, "wastepaper modernism" arises when fiction imagines its own processes of transmission and representation breaking down. When the descriptive capabilities of the novel exhaust themselves, the wastepaper modernists picture instead the physical decay of the book's own primary matter. Bringing together book history and media theory with detailed close reading, Wastepaper Modernism reveals modernist literature's dark sense of itself as a ruin in the making.