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L O R E N Nicholas Brown, Utopian Generations: The Political Horizon of Twentieth-Century Literature (Translation/Transnation). Princeton, NJ: Princeton University Press, 2005. 235 pp. $26.95, paper. hen modernism was initially celebrated and canonized as "international," artists and critics had mostly Europe in mind. Although the world was embroiled in a series of imperial wars and colonial ventures, modernism came to be associated with the great capitals of Europe--Paris and London, principally. And even though the celebrated cosmopolitanism of these cities included both postcolonial subjects and foreign-service veterans, the literature that emerged from them was written and critically canonized in terms of the traditions of the West. Somewhat surprisingly, recent criticism of modernism tends to reinforce this bias. Although the so-called new modernist studies represent a timely shift away from the traditional attention to formal experimentation toward a more sociological appreciation of modernism's institutional and cultural functions, critics still tend to restrict themselves to the standard Euro-American focus.1 Nicholas Brown's Utopian Generations: The Political Horizon of Twentieth-Century 1. See, for example, Lawrence Rainey, Institutions of Modernism: Literary Elites and Public Culture (New Haven, CT: Yale UP, 1999); Catherine Turner, Marketing Modernism: Between the Two World Wars (Amherst: U of
Contemporary Literature – University of Wisconsin Press
Published: Jan 3, 2006
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