Rubenstein and Neuman, "Modernism and Its Environments" (Book Note)

 

Rubenstein and Neuman, in "Modernism and Its Environments," pose a fundamental question: what would happen if we approached the cultural history of modernism through an environmental lens? The book effectively navigates the intersection of these two disciplines, providing a clear and intuitive guide to their mutual influence. Operating across various historical moments, the authors acknowledge the imperative to reassess the past from the vantage point of the present.

 

Crucially, the book differentiates between its own intentions and those of the authors, artists, and thinkers it discusses. This distinction becomes pivotal as the two disciplines under scrutiny—modernism and environmentalism—have undergone significant evolution over the last century. The authors emphasize the complexities of interpreting twentieth-century texts through a contemporary perspective, exploring how modernism and the environment have transformed and become interconnected.

 

The book is organized into five sections, each focusing on a distinct aspect: 'Modernism’s Energy Environments,' 'Modernism’s Urban Environments,' 'Modernism’s Animals,' 'Modernism in the Wilderness,' and 'The Climate of Modernism.' These divisions facilitate the interdisciplinary approach of Rubenstein and Neuman, with textual and visual examples coexisting under each theme.

 

For instance, in the first chapter, 'Modernism’s Energy Environments,' the authors connect Francis Picabia's image "Portrait of a Young American Girl in the State of Nudity" with Stephen Dedalus’ encounter with Dublin’s power station in James Joyce’s "Ulysses." By examining the symbolic use of electricity rather than its source, the authors challenge traditional ecocritical perspectives on modernism's engagement with new technologies. In the fifth chapter, they juxtapose Virginia Woolf’s novel "To The Lighthouse" with Olafur Eliasson’s installation "The Weather Project," illustrating how our relationship with weather has shifted, from a conversational banality to a direct and imminent environmental concern.

 

"Modernism and Its Environments" aims not to assert that modernism was historically environmental but to explore how modernist texts project into the future and speak to our present. It offers a thought-provoking exploration of new critical territory, prompting readers to reconsider conventional perceptions of modernism and challenging traditional discourses in the process.

In each chapter of "Modernism and Its Environments," Rubenstein and Neuman adeptly draw upon a diverse array of source material, encompassing modernist theory, 'high modernist' texts, contemporary ecocriticism, new modernist theory, and insights from the environmental sciences. The comprehensive bibliography renders this text an invaluable resource for scholars interested in exploring the ecological dimensions of modernism. The authors skillfully guide readers through these interdisciplinary topics with accessibility and engagement.

 

While the text generally excels in presenting a wealth of material, some instances arise where the textual examples lack in-depth analysis and critical rigor. Chapter three is highlighted as an example, where texts are included based on their mention of animals without further examination. For instance, the mention of Marianne Moore's poetry, filled with various creatures, is presented without a thorough interrogation.

 

Despite these occasional lapses, "Modernism and Its Environments" serves as a catalyst for further exploration. The authors' primary objective seems to be to inspire readers to delve deeper into the topics they touch upon rather than providing concentrated close readings. The book effectively invites readers to continue their exploration, encouraging them to seek out and discover more from the numerous sources referenced by Rubenstein and Neuman. This quality stands out as a key strength of the book.

 

The clear and concise structure employed by Rubenstein and Neuman allows for the exploration of diverse historical, cultural, and critical materials without losing focus on the central and relevant nature of the subject. The text significantly contributes to how an ecocritical reader approaches modernist texts, offering insights into how contemporary readers should navigate these texts in a world that appears as uncertain, volatile, and perplexing as it did a century ago.