She has co-edited an anthology of immigrant memoirs, The British Migrant Experience , , a volume of essays entitled Confronting the Burden of History with dr hab. Her PhD dissertation, on representations of violence in modernist fiction, was published in book form in In the years and she coordinated two Visegrad grants, with dr hab.
Katarzyna Bazarnik, and dr hab.
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She is on the editorial board of the Witkacy! Marek Rudnicki from George Mason University and publications on modernist literature and art. Jagiellonian University Press, , Witkacy, Wyndham Lewis a kwestia antyhumanizmu, cz. Nicolaus Copernicus University Press, Warszawa: Polish Institute of World Art Studies, , Incarnations of Material Textuality: From Modernism to Liberature.
Destruction and rebirth are inextricably connected to a single concept: Fascist movements were able to argue that the introduction of new technology facilitated the rebirth of a true primordial national identity and a revival of pristine ancient hierarchies. Modernist aesthetics were adjusting to a similar set of circumstances: In laying the ground for the palingenetic nation, fascist movements believed that destruction was a necessary component.
After the destruction comes rebirth. Such figures are extremely visible in fascism — Hitler and Mussolini most obviously — and their charisma can claim part of the reason for the consent of the populations they governed. This may have manifested in discourses against capitalism, the bourgeoisie, or the hegemony of Enlightenment values. Many modernists attracted to these arguments would display communist sympathies; others, including Lewis, would articulate their frustrations with a qualified admiration for fascism.
It also usefully describes the variegated ways in which fascism attempted to assail the decadent present.
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Such heterogeneity is reflected similarly in modernism: Such contrarian impulses — the desire to diagnose and cure a cultural and political disease — reflect an overlap in modernist and fascist tendencies. In Tarr , acts of destruction are incessant. Displays of power manifest within the spheres of aggression, violence and misogyny. Tarr berates Hobson for his entitled and complacent bohemian lifestyle. For all reply, the poet seizes a heavy stick and lays about the beggar with it.
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When he is almost battered to pieces the man suddenly straightens out under the blows, expands, stretches; his eyes dart fire! He rises up and falls upon the poet tooth and nail: The poet is enchanted: Would it be possible I wonder to accomplish something of that sort with you? You are meaner-spirited than the most currish hobo. I would seize you by the throat at once if I thought you would black my eye. But I feel it my duty at least to do this for your hat: For Lewis, the destruction of bourgeois bohemia — the gatekeeper of mass culture high and low — would be both creative and cathartic.
Aesthetic creativity is monopolised by a lazy, orthodox cadre of pseudoartists: The desire of artists to assimilate into a celebrated crowd — as a means to produce art — is viewed as a pernicious disease of which only an aggressive form of aesthetic rejection is the panacea. Tarr celebrates the energy and violence of the brawl between beggar and poet as a break through the stasis; he then contrasts the successful brutality with the pathetic, insular tepidness of Hobson.
If Tarr were a eugenicist, one could picture his wish for annihilating the entire artistic petite bourgeoisie. Moments earlier in the novel, Tarr castigates Hobson with the following diatribe:. You are systematizing and vulgarizing the individual. You have, I repeat, no right to that hair and that hat, you are trying to have the apple and eat it, too.
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This is disconcerting when one thinks of the traditionally linear representation of speech established in conventional literature. The disdain levelled at Hobson is direct yet fragmented: There appears a respective appeal to both modernist and fascist tendencies here: Later, this essay will gauge the ultimate success of this venture.
This essay has thus far managed to discuss destruction without mentioning the role in Tarr of the thirty-six-year-old German artist, Kreisler. Kreisler is a malfunctioning propheta: He certainly causes disturbances in the bohemian malaise: The diagnostician — the propheta of rebirth — himself becomes infected. As the novel progresses, the characters in Tarr begin to resemble one another.
How does Wyndham Lewis’s Tarr reflect an inclination towards fascist politics?
His sexual violence towards Bertha was certainly destructive, but ultimately misdirected: Lewis, in Tarr , clearly displays his contempt for the present: This inclination is broadly held in modernist aesthetics, and the ultimate failure of Kreisler to sequentially enact destruction and rebirth reflects a failure to destroy the traditional novel.
It is this failure that the essay will now contend with. At the end of Tarr , Lewis seems to mock the entire preceding novel, and by doing so the conventions of the traditional novel itself:. This one represents the swing back of the pendulum once more to the swagger side. The cheerless and stodgy absurdity of Rose Fawcett required as compensation the painted, fine and enquiring face of Prism Dirkes.
Tarr splits from Bertha the novel has just discussed their marriage and does not marry Anastasya the predominant source of his affection throughout the book. The linear narrative which had come before is possibly shown to be irrelevant; at least the only courtesy it is afforded is that of an inconsequential snapshot in time.
Tarr ends the novel a promiscuous failure who seemingly desires the security of a production line of various women. Kreisler represents the destructive tendencies which have the potential to usher in an aesthetic palingenesis. When Kreisler hangs himself, he leaves behind the memory of a failed artist and a social pariah. Lewis not only expressed on a formal level his aggressive antagonism to the idealistic orthodoxies of the Individualist bildungsroman , but questioned the broader novelistic conventions of narrative and psychological continuity.