Book contents
- Frontmatter
- Contents
- List of Figures
- Notes on Contributors
- Introduction: Cross-Channel (Transmanche) Modernisms
- Interlude: Translating
- 1 On Unknowing French? Rhythm and Le Rythme on a Cross-Channel Exchange
- 2 Impressions of Translation: Ford Madox Ford’s Cosmopolitan Literary Crossings
- 3 Sydney Schiff and Marcel Proust: Table-talk, Tribute, Translation
- Interlude: Fashioning
- 4 Cross-Channel Modernisms and the Vicissitudes of a Laughing Torso: Nina Hamnett, Artist, Bohemian and Writer in London and Paris
- 5 Jean Rhys’s comédie anglaise
- 6 Betray to Become: Departure in James Joyce’s A Portrait of the Artist as a Young Man
- Interlude: Mediating
- 7 Close Up and Cross-Channel Cinema Culture
- 8 Debussy at the Omega Workshops
- 9 Across the Other Channel: Elizabeth Bowen and Modernist Mediation
- Coda: ‘You, who cross the Channel’: Virginia Woolf, Departures and the Spectro-Aesthetics of Modernism 215
- Index
Introduction: Cross-Channel (Transmanche) Modernisms
Published online by Cambridge University Press: 03 October 2020
- Frontmatter
- Contents
- List of Figures
- Notes on Contributors
- Introduction: Cross-Channel (Transmanche) Modernisms
- Interlude: Translating
- 1 On Unknowing French? Rhythm and Le Rythme on a Cross-Channel Exchange
- 2 Impressions of Translation: Ford Madox Ford’s Cosmopolitan Literary Crossings
- 3 Sydney Schiff and Marcel Proust: Table-talk, Tribute, Translation
- Interlude: Fashioning
- 4 Cross-Channel Modernisms and the Vicissitudes of a Laughing Torso: Nina Hamnett, Artist, Bohemian and Writer in London and Paris
- 5 Jean Rhys’s comédie anglaise
- 6 Betray to Become: Departure in James Joyce’s A Portrait of the Artist as a Young Man
- Interlude: Mediating
- 7 Close Up and Cross-Channel Cinema Culture
- 8 Debussy at the Omega Workshops
- 9 Across the Other Channel: Elizabeth Bowen and Modernist Mediation
- Coda: ‘You, who cross the Channel’: Virginia Woolf, Departures and the Spectro-Aesthetics of Modernism 215
- Index
Summary
What better place to start than midway, in extracts from letters exchanged before and after a cross-Channel expedition?
To Vita Sackville-West
RodmellSaturday 8 September [1928]Concentrate your mind upon this, and give me your answer. Suppose we start (you and I and Potto) on Saturday 22nd. Sleep in Paris. Get to SAULIEU on Monday … Do you want to go 2nd or 1st (I insist on 1st on the boat) If first is much more comfortable, first is advisable. Not otherwise; because first class travellers are always old fat testy and smell of eau de cologne, which makes me sick. (Woolf 1975–80, vol. 3: 528)
To Virginia Woolf
British Embassy, BerlinTuesday 11 SeptemberYour letter has caught me, as we leave early tomorrow morning. I am absolutely overjoyed to think that our France may really materialise, and I beg you to get the tickets before you have time to change your mind. (Sackville-West 1985: 298)
To Vita Sackville-West
52 Tavistock Place W.C.1Oh there's a lot to talk to you about: Orlando: Radclyffe Hall: etc.
I am getting a fish basket for Potto.
Shall you be bored with me?
As an experiment this journey interests me enormously. (Woolf 1975–80, vol. 3: 531)
To Virginia Woolf
Long Barn, SevenoaksWednesday 19 SeptemberI write in a hurry because I am just starting for Eton with Ben.
Monday, – yes. Could you send a postcard to say
1) what time the boat starts,
2) how much I owe you for the tickets
3) the name of the hotel in Saulieu (Sackville-West 1985: 300)
To Virginia Woolf
Long BarnFriday night 5 OctoberIt was queer, reading some of your letters, in the light of having been with you so much lately. A fitful illumination played over them, – a sort of cross-light, – (do you realise that at Auppegard one is always in a cross-light? a symbolic fact which would, I feel, have had more influence on you or me, had either of us chanced to live there, than it has had on the relatively unimaginative natures of Ethel and Nan.) Well, a sort of cross-light, as I say, played across them, projected half from the rather tentative illumination of the past and half from the fuller illumination of the present….
- Type
- Chapter
- Information
- Cross-Channel Modernisms , pp. 1 - 13Publisher: Edinburgh University PressPrint publication year: 2020