Modernist Parasites: Bioethics, Dependency, and Literature, Post-1900 analyzes biological and social parasites in the political, scientific, and literary imagination. With the rise of Darwinism, eugenics, and parasitology in the late nineteenth century, Sebastian Williams posits that the “parasite” came to be humanity’s ultimate other—a dangerous antagonist. But many authors such as Isaac Rosenberg, John Steinbeck, Franz Kafka, Clarice Lispector, Nella Larsen, and George Orwell reconsider parasitism. Ultimately, parasites inherently depend on others for their survival, illustrating the limits of ethical models that privilege the discrete individual above interdependent communities.

"What we call "Being" infects us and speaks through us - it treats us as a host to a linguistic and experiential parasite. Ontology - the study of Being - has primarily dealt with human questions regarding Being at the expense of the non-human, inhuman, and posthuman. Language Parasites works against this tendency by offering a "phorontology": a theory of Being inspired by "phoronts," which are tiny organisms that engage in parasitic migration (lice, mites, ticks, fleas, etc.). What is the Being of a parasite and how can that complicated non-human ontology influence human definitions of Being? Gradually, the anthropocentric distinction of subject and object fades away in favor of the emergence of a strange new philosophical entity called the transject, a being that is thrown far afield from the more normative notions of the subject that can be found in Hegel, Kant, Lacan, or even Foucault, Nietzsche, and Deleuze. A 'pataphysical excursion into the intricate world of philosophical ontology, Language Parasites presents the initial discoveries of a much larger project that seeks to redefine the boundaries of Being. This book is the result of a parasitic infection of continental philosophy in which the various parasites of German and French philosophy all meet at one locale for one express purpose: to eat together, feed together, and think together."--Back cover.

Publishing houses are nearly invisible in modernist studies. Looking beyond little magazines and other periodicals, this collection highlights the importance of book publishers in the diffusion of modernism. It also participates in the transnational turn in modernist studies, demonstrating that book publishers created new markets for modernist texts in the United States, Europe and the rest of the world.

We often think of Mrs Dalloway or A Portrait of the Artist as a Young Man as difficult books, originally published in small print runs for a handful of readers. But from the mid-1920s, these texts and others were available in cheap format across Europe. Uniform series of reprints such as the Travellers' Library, the Phoenix Library, Tauchnitz and Albatross sold modernism to a wide audience - thus transforming a little-read "e;highbrow"e; movement into a popular phenomenon. The expansion of the readership for modernism was not only vertical (from "e;high"e; to "e;low"e;) but also spatial - since publisher's series were distributed within and outside metropolitan centres in Britain, continental Europe and elsewhere. Many non-English native speakers discovered texts by Joyce, Woolf and others in the original language - a fact that has rarely been mentioned in histories of modernism. Drawing on extensive work in neglected archives, Cheap Modernism will be of interest to all those who want to know how the new literature became a global commercial hit.

Surveying the full breadth of J. M. Coetzee's career as both academic and novelist, this book argues for the necessity of rethinking his profound indebtedness to literary modernism in terms of a politics of life. Isolating a particular strain of late modernism, epitomised by Kafka and Beckett, Farrant claims that Coetzee's writings consistently demonstrate an agonistic engagement with the concept of life that involves an entanglement of politics and ethics, which supersedes the singular theoretical frameworks often applied to Coetzee, such as postcolonialism, posthumanism and animal studies. Running throughout his engagement with questions of modernity and colonialism, storytelling and life writing, human and non-human life, religion and post-Enlightenment subjectivity, Coetzee's politics of life yield a new literary cosmopolitanism for the twenty-first century; a powerful commentary on our interrelatedness that emphasises finitude and contingency as fundamental to the way we live together.

Focusing on literary authors, social reformers, journalists, and anthropologists, Francesca Sawaya demonstrates how women intellectuals in early twentieth-century America combined and criticized ideas from both the Victorian "cult of domesticity" and the modern "culture of professionalism" to shape new kinds of writing and new kinds of work for themselves. Sawaya challenges our long-standing histories of modern professional work by elucidating the multiple ways domestic discourse framed professional culture. Modernist views of professionalism typically told a racialized story of a historical break between the primitive, feminine, and domestic work of the Victorian past and the modern, masculine, professional expertise of the present. Modern Women, Modern Work historicizes this discourse about the primitive labor of women and racial others and demonstrates how it has been adopted uncritically in contemporary accounts of professionalism, modernism, and modernity. Seeking to recuperate black and white women's contestations of the modern professions, Sawaya pairs selected novels with a broad range of nonfiction writings to show how differing narratives about the transition to modernity authorized women's professionalism in a variety of fields. Among the figures considered are Jane Addams, Ruth Benedict, Willa Cather, Pauline Hopkins, Zora Neale Hurston, Sarah Orne Jewett, Josephine St. Pierre Ruffin, and Ida Tarbell. In mapping out the constraints women faced in their writings and their work, and in tracing the slippery compromises they embraced and the brilliant adaptations they made, Modern Women, Modern Work boldly reenvisions the history of modern professionalism in the United States.

In this stimulating study, the author explores how Conrad, T.S.Eliot, Woolf, Joyce, Faulkner, Hemingway, Huxley and others responded to the immediate challenges of their time, to the implications of Freudian psychology, molecular theory, relativist theory, and the general weakening of religious faith. Assuming that artists and writers, in coping with those problems, would develop techniques in many ways comparable, even where there was no direct contact, he positions Modernist literature within the context of contemporary painting, architecture and sculpture, thereby providing some fascinating insights into the nature of the literary works themselves.

Rives uncovers a context of aesthetic and social debate that modernist studies has yet to fully articulate, examining what it meant, for various intellectuals working in early twentieth-century Britain and America, to escape from personality.