Goble - Beautiful circuits: modernism and the mediated life
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Introduction: communications now are love -- Pleasure at a distance in Henry James and others -- Love and noise -- Soundtracks: modernism, fidelity, race -- The new permanent record -- Epilogue: looking back at mediums.;Mark Goble revisits the aesthetics of modernism in the early twentieth century, when new modes of communication made the experience of technology an occasion for profound experimentation and reflection. Goble shows how the assimilation of such old media technologies as the telegraph, telephone, and phonograph inspired fantasies of connection that informed a commitment to the materiality of artistic mediums. Describing how relationships made possible by technology became more powerfully experienced with technology, Goble explores a modernist fetish for media that shows no signs of abating. The mediated life puts technology into communication with a series of shifts in how Americans conceived the mechanics and meanings of their connections to one another, to the world, and to their own modernity. Considering texts by Henry James, Gertrude Stein, James Weldon Johnson, F. Scott Fitzgerald, Ralph Ellison, Richard Wright, James Agee, and William Carlos Williams, alongside film, painting, music, and popular culture, Beautiful Circuits explores American modernism as it was shaped by a response to high technology and an attempt to change how literature itself could communicate.
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BEAUTIFUL CIRCUITS
BEAUTIFUL CIRCUITS
Modernism and the Mediated Life
MARK GOBLE
COLUMBIA UNIVERSITY PRESS NEW YORK
Columbia University Press
Publishers Since 1893
New York Chichester, West Sussex
cup.columbia.edu
Copyright 2010 Columbia University Press
All rights reserved
E-ISBN 978-0-231-51840-6
Library of Congress Cataloging-in-Publication Data
Goble, Mark.
Beautiful circuits : modernism and the mediated life/Mark Goble.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-231-14670-8 (cloth : alk. paper)ISBN 978-0-231-51840-6 (e-book)
1. Mass media and literatureUnited States. 2. American literature20th centuryHistory and criticism. 3. Mass media and cultureUnited States. 4. Interpersonal communicationTechnological innovationsSocial aspectsUnited States. 5. Social interactionTechnological innovationsUnited States. I. Title.
P96.L5G63 2010
302.230973dc22
2009053416
A Columbia University Press E-book.
CUP would be pleased to hear about your reading experience with this e-book at .
References to Internet Web sites (URLs) were accurate at the time of writing. Neither the author nor Columbia University Press is responsible for URLs that may have expired or changed since the manuscript was prepared.
For Elisa Tamarkin
Contents
It is a hard thing to know that this books first expression of gratitude is for someone who cannot read it: like so many others, I owe much to the intelligence and enthusiasm of Jay Fliegelman, who possessed the genius for taking so much pleasure in his students work that it was simply impossible for them not to keep on doing it. His gifts were abundant, and they were taken from us too soon. There was not a book or object he could not bring to scintillating, complicated life, and though the chapters that follow have little to say on any of the subjects his own scholarship transformed, I know for certain that they would not have been written without him. The guidance and teaching that filled my years as a graduate student at Stanford continue to surprise and educate me. David Halliburton saw this project in its earliest incarnations and enlarged its prospects with his deep originality and commitment to eccentricity. Albert Gelpi made sure that no matter how far I wandered, I always came back to my texts and the traditions that informed them. Marjorie Perloffs energy and exacting sensibility convinced me that the reading we do as critics often does more justice when, as Frank OHara might say, you just go on your nerve. Scott Bukatman arrived in the nick of time and made it possible for me to break some rules that I otherwise would have followed to no good end.
I was very fortunate to spend six years in the English Department at the University of California, Irvine, where my colleagues made this a better book by way of their kindness, friendship, and advice. Jerome Christensen was gracious as a chair and exemplary as an intellectual; Rodrigo Lazo, Jayne Lewis, James McMichael, Steven Mailloux, James Steintrager, Brook Thomas, Irene Tucker, and the late Richard Kroll were smart and spirited in their support. Michael Szalay made me own up to being a modernist after all, and Robert Folkenflik put the right book in my hands when I needed it most. Other friends and fellow Americanists made Los Angeles a secretly terrific place to be an academic, and I am truly lucky to be so indebted to such a group: Joe Dimuo, Paul Gilmore, Greg Jackson, Cathy Jurca, Chris Looby, Sianne Ngai, Sharon Oster, and especially Mark McGurl. Members of the Americanist Research Colloquium at UCLA generously read portions of this book and offered valuable suggestions, and members of the Southern California Americanist Group helped to clarify its purpose and prose with their impeccable camaraderie over the years. I am also grateful for lively responses from participants at meetings of the Digital Cultures Project and the Transliteracies Project, both housed at the University of California, Santa Barbara.
Early encouragement from Mary Kinzie, Carl Smith, Wendy Wall, and the late Robert Wiebe helped put everything in motion, along with the support of Helen Deutsch, whose later friendship became another reason to love LA. Moving north, I was welcomed to the University of California, Berkeley, by Stephen Best, Mitchell Breitwieser, Ian Duncan, Dorothy Hale, Colleen Lye, Kent Puckett, Samuel Otter, and Scott Saul, new colleagues whose immediate generosity and goodwill has been more appreciated than they probably realize. I would also like to thank a far-flung network of friends and colleagues who have been the best of interlocutors with their comments, criticisms, and general resourcefulness: Rachel Adams, Sara Blair, Marshall Brown, Stuart Burrows, Jay Clayton, Kevin Dettmar, Betsy Erkkila, Vivian Folkenflik, Jonathan Freedman, Eric Hayot, Alan Liu, Mark Maslan, Alexander Nemerov, Diana Paulin, Chris Spilker, Pamela Thurschwell, Cecelia Ticchi, William Warner, Kenneth Warren, Mark Wolleager, and especially Sandy Zipp, who is always fated to come at the end of a list like this even when he merits higher billing. Peter Coviello has been a true friend for more than twenty years, and I have come to count, in equal measure, on his exuberant intellect and the intelligence of his exuberance.
Funding from UC Irvines Humanities Center and UC Berkeleys Committee on Research made it possible for this work to take its final shape. I am grateful to librarians and archivists at the University of California, Santa Barbara, the Huntington Library in Pasadena, and the Gallery Archives of the National Gallery of Art in Washington, D.C., for their assistance with resources and illustrations. The estates of Cecil Beaton, Walker Evans, Rube Goldberg, Man Ray, and Norman Rockwell were kind enough to grant me permission to publish images in this book. My special thanks to Chris Jordan and Ed Ruscha for their help in acquiring reproductions of their works, and for letting me include them here. Portions of first appeared, respectively, in ELH 74, no. 2 (Summer 2007) and Modern Language Quarterly 62, no. 2 (June 2001), and I would like to thank Marshall Brown and the anonymous readers and editorial staffs at both journals.
I am altogether indebted to Philip Leventhal at Columbia University Press, who has been a remarkably insightful and patient editor, and who, along with Anne McCoy, Avni Majithia, Michael Simon, and the indispensable copy editor Jan McInroy, improved this book in countless ways. The anonymous readers at the press provided invaluable engagements with every aspect of the text and helped me sharpen both its argument and style; having the chance to revisit the book in light of their responses was one of the privileges of this process.
I come from a small family, so the encompassing love of my parents, Ben and Cary Goble, has been the largest of gifts. I am thankful for everything that Civia Tamarkin, Michael Cohen, Ira Levin, and Michelle Levin have done for me since I have been a part of their families, and I am honored to remember Bob Tamarkin for everything he did in the years I was fortunate enough to know him. All the restthis book and whatever else Ive managed to do rightis thanks to Elisa Tamarkin. The integrity of her love and brilliance has given me so much more than I ever thought it possible to receive. Without her, I could connect nothing with nothing.
Only communications can communicate.
NIKLAS LUHMANN
Only an art can define its media.
STANLEY CAVELL
Apparently literature had seen its better days by 1964, so Karl Shapiro asks that we observe the Funeral of Poetry. We are welcome to send condolences at our convenience; attendance at the memorial is optional:
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