This volume of essays surveys gastronomy across global literary modernisms. Modernists explore public and domestic spaces where food and drink are prepared and served, as much as they create them in the modernist imagination through narrative, language, verse, and style. Modernism as a cultural and artistic movement also highlights the historical politics of food and eating. As the chapters reveal, critical trends in food studies alert us to many social concerns that emerge in the modernist period because of expanding food literacy and culture. The result is that food production, consumption, and scarcity are abiding themes in modernist literature and culture, reflecting tensions amidst colonial, agricultural, and industrial settings.

Gastro-Modernism ultimately shows how global literary modernisms engage with the food culture to express anxieties about modernity as much as to celebrate the excesses modern lifestyles produce.

Consumption and the Literary Cookbook offers readers the first book-length study of literary cookbooks. Imagining the genre more broadly to include narratives laden with recipes, cookbooks based on cultural productions including films, plays, and television series, and cookbooks that reflected and/or shaped cultural and historical narratives, the contributors draw on the tools of literary and cultural studies to closely read a diverse corpus of cookbooks. By focusing on themes of consumption—gastronomical and rhetorical—the sixteen chapters utilize the recipes and the narratives surrounding them as lenses to study identity, society, history, and culture. The chapters in this book reflect the current popularity of foodie culture as they offer entertaining analyses of cookbooks, the stories they tell, and the stories told about them.

The T. S. Eliot Studies Annual is the leading venue for the critical reassessment of Eliot’s life and work in light of the ongoing publication of his letters, critical volumes of his complete prose, the new edition of his complete poems, and the forthcoming critical edition of his plays. All critical approaches are welcome, as are essays pertaining to any aspect of Eliot’s work as a poet, critic, playwright, or editor. John D. Morgenstern, General Editor Editorial Advisory Board: Ronald Bush, University of Oxford David E. Chinitz, Loyola University Chicago Anthony Cuda, University of North Carolina–Greensboro Robert Crawford, University of St Andrews Frances Dickey, University of Missouri John Haffenden, University of Sheffield Benjamin G. Lockerd, Grand Valley State University Gail McDonald, Goldsmiths, University of London Gabrielle McIntire, Queen’s University Jahan Ramazani, University of Virginia Christopher Ricks, Boston University Ronald Schuchard, Emory University Vincent Sherry, Washington University at St. Louis

In drawing together contributions from leading and emerging scholars from across the UK and America, Eco-Modernism offers a diverse range of environmental and ecological interpretations of modernist texts and illustrates that ecocriticism can offer fresh and provocative ways of understanding literary modernism.

The intrinsic ambivalence of eating and drinking often goes unrecognised. In Leftovers, Cruickshank’s new theoretical approach reveals how representations of food, drink and their consumption proliferate with overlooked figurative, psychological, ideological and historical interpretative potential. Case studies of novels by Robbe-Grillet, Ernaux, Darrieussecq and Houellebecq demonstrate the transferrable potential of re-thinking eating and drinking.

Considers relationships between modernist literature and literary criticism and argues that new modernist fiction can bring with it new modes of reading Considers how close reading may change as the study of modernism changes to include recently recovered fiction Asks what reading meant for selected critics of modernist literature around 1930 and around 1960 Offers readings of three new modernist novels: Djuna Barnes’s Nightwood, John Rodker’s Adolphe 1920 and Mina Loy’s Insel Considers key cultural moments of the novels' composition and reception Extends the questions about reading raised by these novels to Samuel Beckett’s Comment c’est / How It Is and Jean Rhys’s short stories Since the late twentieth century, new understandings of modernism have come with new attention to a range of writers. Yet if the academic study of modernism took shape around an older, narrower selection of writers and works, how can its modes of reading be relevant to newly recovered modernist writing? This book considers how close reading may change as the subjects of literary study change. Elizabeth Pender asks what reading meant for critics of modernist literature around 1930 and around 1960, and then what close reading might look like now for three new modernist novels. Djuna Barnes’s Nightwood, John Rodker’s Adolphe 1920 and Mina Loy’s Insel tend to resist some of the strategies of reading that helped construct a narrowed modernist canon at mid-century, such as the pursuit of coherence. These novels offer new thinking about the temporality of reading, style, and the ethics of narration. Reading these novels now suggests that other new modernist fiction, too, may require revisions to vocabularies with which modernist literature has sometimes been read.

Post-foundationalism departs from the assumption that there is no ground, necessity, or objective rationale for human political existence or action. The edited volume puts contemporary debates arising from the »spatial turn« in cultural and social sciences in a dialogue with post-foundational theories of space and place to devise post-foundationalism as radical approach to urban studies. This approach enables us to think about space not only as socially produced, but also as crucially marked by conflict, radical negativity, and absence. The contributors undertake a (re-)reading of key spatial and/or post-foundational theorists to introduce their respective understandings of politics and space, and offer examples of post-foundational empirical analyses of urban protests, spatial occupation, and everyday life.

When we think of writers today, we often think of them as thin and poor-as starving artists. This book traces the history of this idea, and asks why hunger has been such a compelling metaphor for thinking about writing in modern times.

The Oxford Handbook of Global Modernisms expands the scope of modernism beyond its traditional focus on English and Irish literature to explore the contributions of artists from countries and regions like the US, Cuba, Spain, the Balkans, China, Japan, India, Vietnam, and Nigeria.