American Modernism's Expatriate Scene: The Labour of - download pdf or read online

American Modernism's Expatriate Scene: The Labour of - download pdf or read online

By Daniel Katz

This learn takes as its aspect of departure a vital premise: that the frequent phenomenon of expatriation in American modernism is much less a flight from the place of birth than a dialectical go back to it, yet one that renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are usually visible as offering. during this framework, equally totalizing notions of cultural authenticity are noticeable to manipulate either exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' whilst, cosmopolitanism, translation, and multilingualism turn into usually eroticized tropes of violation of this version, and consequently, at the same time courted and abhorred, in a flow which, if crystallized in expatriate modernism, persisted to make its presence felt beyond.Beginning with the past due paintings of Henry James, this publication is going directly to research at size Ezra Pound and Gertrude Stein, to finish with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialized aesthetic of Spicer's peer, John Ashbery. via an emphasis on modernism as an area of generalized interference, the perform and trope of translation emerges as vital to the entire writers involved, whereas the publication continues to be in consistent discussion with key contemporary works on transnationalism, transatlanticism, and modernism.

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Extra resources for American Modernism's Expatriate Scene: The Labour of Translation (Edinburgh Studies in Transatlantic Literatures)

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As Laplanche’s work implies, it is to examine how in James the “foreign” itself is used as a trope of the naturalization strategies which mobilize any given “home” in the M856 KATZ TEXT M/UP 30 ] 14/6/07 10:10 am Page 30 American Modernism’s Expatriate Scene first place. In this sense, patriotism does indeed begin elsewhere, and one could argue that James spent his life in exile running to America, thus actualizing the distance from “home” he had also felt at home. Indeed, it is America, this exquisitely mediated home, that Henrietta is somewhat awkwardly made to represent in the early pages of the Portrait.

Significantly, this is a position which The American Scene begins by repeating, with its stated goal of combining the benefits of the native and foreign perspectives: M856 KATZ TEXT M/UP 14/6/07 10:10 am Page 23 Native Well Being [ 23 “. . if I had had time to become almost as ‘fresh’ as an inquiring stranger, I had not on the other hand had enough to cease to be, or at least to feel, as acute as an initiated native” (3). Yet in a less optimistic vein, James could also write, “. . a man always pays, in one way or another, for expatriation, for detachment from his plain primary heritage” (cited in Lewis, 526).

The ironic reversal could not be more neat: rather than judge a realist painting by its likeness to what it represents, the France in which Strether finds himself is only “real” to the extent that it M856 KATZ TEXT M/UP 14/6/07 10:10 am Page 37 The Mother’s Tongue [ 37 corresponds to its painting. ” The “conditions” he finds in the Lambinetesque countryside, late in the book, are “the thing, as he would have called it, even to a greater degree than Madame de Vionnet’s old high salon where the ghost of the Empire walked” (386, original italics).

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