Modernist Perspectives

Modernist Perspectives

Modernism was a major shift in British literature during the early part of the 20th century, roughly between 1900 and the 1940s. It was a time when writers felt the old ways of storytelling no longer worked for the rapidly changing world they lived in. Huge events like the First World War, the growth of cities, new technologies like cars and cinema, and new ideas about psychology made people see life differently. Writers wanted to capture this new, often confusing, modern experience, leading them to break away from the clearer styles of the previous Victorian era and try something completely new.

A lot of Modernist writing explores feelings of being lost, disconnected, or disillusioned, especially after the shock of the First World War. Instead of focusing only on outside events, writers became very interested in characters' inner worlds – their thoughts, feelings, memories, and sensations, which could often be messy or contradictory. They tried to show how fragmented modern life could feel, where old beliefs and certainties seemed to be falling apart. This often resulted in literature that felt less straightforward and more challenging than earlier writing.

To express these new ideas and feelings, Modernist writers experimented boldly with how they wrote. They played with language and structure, sometimes abandoning traditional plots that moved smoothly from start to finish. You might find stories that jump around in time or switch between different viewpoints without warning. A famous technique involved trying to write down thoughts exactly as they flow through a person's mind, jumping from one idea to another. In poetry, many writers dropped strict rhyme and rhythm rules, opting for a freer style that could better match the subject matter.

Key British writers associated with this period include poets like T.S. Eliot and novelists such as Virginia Woolf, James Joyce (though Irish, hugely influential in Britain), and D.H. Lawrence. These authors, among others, weren't afraid to experiment and push the boundaries of what literature could do. They used techniques like complex symbols or references to older myths and stories, often requiring readers to think carefully and interpret meanings for themselves.

Studying Modernism helps us understand how literature changed dramatically in the 20th century. These writers grappled with questions about identity, meaning, and how individuals cope with a complex, rapidly changing society – themes that still resonate strongly today. Their experiments with form and style had a lasting impact, influencing many writers who came after them. While sometimes demanding, exploring Modernist literature offers deep insights into both the past and our present world.

Mrs Dalloway

Virginia Woolf's Mrs Dalloway, published in 1925, is a famous example of British Modernist writing. The story takes place over a single day in London, just a few years after the end of the First World War. We mainly follow Clarissa Dalloway, an upper-class woman, as she prepares to host a party that evening. The novel doesn't have a complex plot in the traditional sense; instead, it focuses intensely on the characters' thoughts, memories, and feelings as they go about their day in the bustling city.

One of the most striking things about Mrs Dalloway is how Woolf tells the story. She uses a technique called 'stream of consciousness', which means we get direct access to the flow of characters' inner thoughts. We dip in and out of different people's minds – not just Clarissa's, but also those she encounters, even briefly. This creates a rich picture of London life and shows how people's private worlds exist alongside their public actions. Woolf moves smoothly between characters, connecting them through shared sights (like a passing motor car or a sky-writing plane) or overlapping thoughts and memories.

While Clarissa prepares for her party, reflecting on her life choices, her past love, and her place in society, the novel also follows another important character: Septimus Warren Smith. Septimus is a young veteran suffering deeply from shell shock (what we might now call PTSD) after fighting in the war. His experiences offer a dark contrast to Clarissa's privileged life, highlighting themes of trauma, madness, and the failure of society and the medical profession to understand suffering. Although Clarissa and Septimus never meet, their paths nearly cross, and their stories echo each other in subtle ways.

Through these characters and their wandering thoughts, Woolf explores several key ideas. The novel delves into the nature of time and memory, how the past constantly shapes the present moment, and the feeling of life speeding by. It examines social structures, class differences, and the constraints placed on individuals, particularly women. Communication – and often the lack of it – between people is another major theme, as characters struggle to express their true selves or connect meaningfully with others. Ultimately, the book offers profound reflections on life, death, loneliness, and the search for meaning in the modern world.

Mrs Dalloway is considered a groundbreaking novel because of its experimental style and its deep exploration of human consciousness. Woolf's writing is often described as beautiful and poetic, capturing the fleeting moments and hidden depths of everyday life. Reading it offers a unique experience, immersing you in the minds of its characters and providing a vivid snapshot of London society navigating the aftermath of war and the complexities of modern existence.

Discussion

After big events like World War I, why did Modernist writers often focus more on what characters were thinking and feeling inside, instead of just telling a simple story about what happened?

Activity: Writing a monologue

Objective 

To practise writing a short piece capturing a character's flow of thoughts and feelings, inspired by Virginia Woolf's style in Mrs Dalloway.

Time: Approximately 40 minutes

Materials: Pen and paper, or a computer/tablet for writing.

Instructions

1. Recap (5 mins):

   • Remember how in Mrs Dalloway, Virginia Woolf lets us hear the characters' inner thoughts directly? This is often called 'stream of consciousness' or an 'internal monologue'.

   • It's like listening to someone's mind at work – thoughts jump between observations, memories, feelings, and worries, often without perfect grammar or logical links. Our goal today is to try writing like that.

2. Choose a Scenario (5 mins):

   • Imagine a simple situation for your character. Pick one of these, or think of your own:

     • Waiting for a bus or train that is running late.

     • Walking down a familiar street on your way somewhere.

     • Sitting alone in a park or cafe.

     • Trying to concentrate on a task (like studying or tidying) but your mind keeps wandering.

     • Waking up in the morning.

   • Think: What would your character see, hear, smell, or physically feel in this moment? What might they be thinking about? Worried about? Remembering?

3. Writing Time (20 mins):

   • Now, write a short piece (about 150-200 words, or 1-2 paragraphs) showing your character's internal monologue in that scenario.

   • Tips for writing:

     • Write in the first person ("I see...", "I remember...", "I feel...").

     • Let the thoughts jump! Don't worry about making perfect sense or smooth connections. One thought might trigger a memory, which then gets interrupted by something the character sees.

     • Include details from the outside world (e.g., "That bright red car... reminds me of...") mixed with inner feelings ("...why do I feel so anxious today?") and perhaps memories ("...like that time when...").

     • Use sentence fragments or run-on sentences if it feels natural for the flow of thought.

     • Focus on capturing the feeling of a mind at work, not on perfect writing.

4. Reflection / Sharing (Optional, 10 mins):

   • Read back over what you've written. Does it feel like a realistic flow of thoughts?

   • If you're comfortable, you can share your piece with a partner or volunteer to read it to the class.

   • Briefly discuss: What was easy or difficult about writing this way? What did you notice about how your own thoughts wander when you try to capture them?

Further reading

Bradbury, Malcolm, and James McFarlane, editors. Modernism: 1890-1930. Penguin Books, 1991. (Originally published 1976).

This widely influential collection of essays provides a comprehensive overview of Modernism as a major international movement across Europe and America, including Britain. It covers various genres, key figures, and the historical and philosophical contexts that shaped the period, such as urbanisation, psychology, and the impact of war. Although first published some time ago, it remains a foundational text for understanding the broad scope, defining characteristics, and sense of crisis often associated with Modernist literature and culture. Its breadth makes it a valuable starting point for exploring the movement's diverse facets.

Childs, Peter. Modernism. Routledge, 2008.

Childs offers a concise and accessible introduction to the key concepts, historical background, and major debates surrounding Modernism. The book covers essential themes like experimentation, subjectivity, and the break with tradition, discussing prominent authors and texts primarily within the British and American contexts. It serves as an excellent primer for students new to the period, clarifying complex ideas and providing a clear framework for understanding the movement's development and significance in literary history. Its focus on central issues makes it particularly helpful for orienting study.

Kenner, Hugh. The Pound Era. University of California Press, 1971.

This highly regarded and detailed critical work argues for the central importance of Ezra Pound in shaping the course of Anglo-American Modernism. Kenner explores the network of writers and artists revolving around Pound in London before and during World War I, including T.S. Eliot, James Joyce, and Wyndham Lewis. He analyses their experimental techniques and intellectual connections, presenting Modernism as a specific, historically-rooted project. While focused significantly on Pound, the book offers profound insights into the collaborative and competitive energies that drove key developments in Modernist literature, particularly poetry.

Levenson, Michael, editor. The Cambridge Companion to Modernism. 2nd ed., Cambridge University Press, 2011.

This collection brings together essays by various leading scholars, offering a wide-ranging introduction to Modernism. Reflecting the interdisciplinary nature of the field, it covers not only major literary genres (poetry, fiction, drama) but also intellectual contexts (philosophy, religion, politics) and parallel developments in other arts like painting, music, and film. The second edition is updated with new chapters addressing contemporary research themes. It serves as an authoritative resource, providing diverse perspectives on key figures, works, and the broader cultural forces that shaped the Modernist movement.

Levenson, Michael H. A Genealogy of Modernism: A Study of English Literary Doctrine, 1908-1922. Cambridge University Press, 1984.1

Levenson provides a meticulous study of the formative years of English Modernism, tracing the evolution of its key ideas and aesthetic principles. He examines the manifestos, critical debates, and shifting allegiances among writers and groups (like Imagism and Vorticism) in London during this crucial period. The book analyses how concepts like impersonality, tradition, and the image were defined and contested. It is particularly valuable for understanding the intellectual arguments and the specific historical context that underpinned the emergence of Modernist literary theory and practice in Britain.

North, Michael. Reading 1922: A Return to the Scene of the Modern. Oxford University Press, 1999.

North focuses specifically on the year 1922, often considered the high point of Modernism, marked by the publication of Joyce's Ulysses and Eliot's The Waste Land. The book places these literary landmarks within a wider global context, connecting them to significant political, social, and cultural events of that year, including developments in anthropology, philosophy, cinema, and the rise of fascism. This approach highlights the interplay between aesthetic innovation and the broader historical moment, offering a detailed snapshot of the diverse forces converging during this pivotal year.

Scott, Bonnie Kime. Refiguring Modernism. Vol. 1, The Women of 1928. Indiana University Press, 1995.

This significant work challenges traditional male-dominated accounts of Modernism by focusing on the contributions of women writers, particularly around the pivotal year of 1928. Scott examines figures like Virginia Woolf, Rebecca West, Djuna Barnes, and Jean Rhys, highlighting their unique perspectives, networks, and engagement with feminist and social issues alongside aesthetic innovation. The book argues for a broader, more inclusive understanding of the movement, revealing the crucial role women played in shaping its concerns and forms. It is essential reading for a gender-aware perspective on the period.

Wilson, Edmund. Axel's Castle: A Study in the Imaginative Literature of 1870–1930. Charles Scribner's Sons, 1931.

As one of the earliest major critical studies of Modernism, Axel's Castle holds landmark status. Wilson traces the influence of the French Symbolist movement on key figures like W.B. Yeats, T.S. Eliot, James Joyce, Marcel Proust, Paul Valéry, and Gertrude Stein. He analyses their shared tendencies towards introspection, aestheticism, and complex uses of language. While written relatively early in the development of Modernist criticism, it remains valuable for its insightful readings and for understanding how the movement was initially conceptualised and presented to a wider readership.