Solid Objects

This study argues that a tension between veneration of human production and anxiety about production's dangers lay at the heart of literary modernism. Focusing on the work of Virginia Woolf and Ezra Pound amongst others, the author shows that modernists were captivated by physical objects.

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This study argues that a profound tension between veneration of human production and anxiety about production's dangers lay at the heart of literary modernism. Focusing on the work of Virginia Woolf, Wyndham Lewis, Ezra Pound and Wallace Stevens, Douglas Mao shows that modernists were captivated by physical objects, which, regarded as objects, seemed to partake of a utopian serenity beyond the reach of human ideological conflicts. Under a variety of historical pressures, Mao observes, these writers came to revere the making of such things and especially the crafting of the work of art, as the surest guarantee of meaning for an individual life. Yet they also found troubling contradictions here, since any kind of making, be it handicraft or mass production, could also be understood as a violation of the nonhuman world by an increasingly predatory and imperialistic subjectivity. If modernists began by embracing production as a test of meaning, then they frequently ended by testing production itself and finding it wanting. To make this case, Mao interweaves social and political history with readings in literature, the visual arts, philosophy and economics.
He explores modernism's relat