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By Tyrus Miller

Tyrus Miller breaks new flooring during this research of early twentieth-century literary and creative tradition. while modernism stories have as a rule targeting the very important early levels of the modernist insurrection, Miller makes a speciality of the turbulent later years of the Twenties and Thirties, monitoring the dissolution of modernism within the interwar years.

In the post-World warfare I reconstruction and the global obstacle that undefined, Miller argues, new technological media and the social forces of mass politics opened fault strains in person and collective event, undermining the cultural bases of the modernist stream. He exhibits how overdue modernists tried to find methods of occupying this new and infrequently harmful cultural area. In doing in order that they laid naked the wreck of the modernist aesthetic whilst they transcended its limits.

In his wide-ranging theoretical and ancient dialogue, Miller relates advancements in literary tradition to traits within the visible arts, cultural and political feedback, mass tradition, and social heritage. He excavates Wyndham Lewis's hidden borrowings from Al Jolson's The Jazz Singer; situates Djuna Barnes among the imagery of haute couture and the intellectualism of Duchamp; uncovers Beckett's affinities with Giacometti's surrealist sculptures and the Bolshevik clowns Bim-Bom; and considers Mina Loy as either visionary author and dressmaker of ornamental lampshades. Miller's energetic and fascinating readings of tradition during this turbulent interval show its astounding anticipation of our personal postmodernity.

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