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By G. Gilbert

Earlier than Modernism was once areas modernist writing in the texture of recent background. Texts by way of Woolf, James, Freud, Wyndham Lewis, Stein, Malinowski, and others are learn via quite a number figures that build and disrupt glossy which means: the ghost that is affecting the price of your home; the sulky, graceless adolescent; the Pole who is probably not Polish; the worried proprietor of the puppy; the addict and her smoke. Eccentric to its associations, those figures are principal to the constituency of modernism.

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What these ghosts object to - which objection is what makes them manifest as ghosts - is the fact of representation or rationalisation. ' 29 This subtilisation of the problem of class occurs through a full identification of the ghosts with the property, with the 'whole dark interior of the old building'. This is not just an evasion: as Churchill and Hobson suggest, a crisis of legitimation appears in the form of a malignant, irrational something undermining the conditions through which the material can be represented as property.

113 This noisy clearing of the ground may be something she hears as problematic and strained in other modernists, but it is a scene of which Woolf is fond; indeed I'd want to argue that the active erosion of physical structures is one of the competing strains in Woolf's aesthetic. When 'Time Passes' (vaguelyprecisely the ten years from 1908 to 1918) in To the Lighthouse, darkness floods in to the Hebridean holiday home of the Ramsays: Nothing, it seems, could survive the flood, the profusion of darkness which, creeping in at keyholes and crevices, stole round window blinds, came into bedrooms, swallowed up here a jug and basin, there the sharp edges and firm bulk of a chest of drawers.

Fiaubert said that had the French really read his "Education Sentimentale" France would have avoided the horrors of the Debacle. Mr James might say as much for his own country and for the country he has so much benefited by making his own'. 51 Aside from the unexamined 'quality' exemplified by James and Flaubert, the journal had some difficulty in defining the new literature it sought. It comes closest by contrast, defining new creation through obituary. First Swinburne dies. The magazine wants to recognise both the overwhelming 'epic volume' with which Swinburne is still felt and the distance between Swinburne and the sort of contemporary writing which The English Review exists to publish.

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