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.
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