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ELT 48 : 2 2005 original documents provide the copy-texts or, where these do not survive , other authoritative pre-print and print forms. The volume makes recourse to meticulous and impressive archival research and profits from recent Conrad scholarship including the volumes of Conrad's letters (also in course of publication by Cambridge). Each essay's writing and printing history has been painstakingly reconstructed from surviving documentation and textual evidence, leading in several cases to corrections of errors that have stood since the first printing . This fully justifies Stape's claim to present the texts "in forms that are more authoritative than those in which they have hitherto appeared in print." The volume is buttressed by a long, informative textual essay setting out the editorial theory and practice brought to bear, a full textual apparatus , appendices providing supplementary material, illustrations and maps, and explanatory and textual notes. Some of these sections will undoubtedly appeal more to the specialist—the actual text of Notes on Life and Letters accounts for less than half the volume's length—but the nonspecialist eschews them at the cost of judicious insights and compellingly diverse lines of inquiry that complement the introduction's elegant and enlightening reflections on the place of these occasional pieces in Conrad's art. Allan h. Simmons St Mary's College, Twickenham Bloomsbury, Volume 3 S. P. Rosenbaum. Georgian Bloomsbury: The Early Literary History of the Bloomsbury Group, 1910-1914: Volume 3. New York: Palgrave, 2003. xii + 253 pp. $69.50 WITH Georgian Bloomsbury, S. P. Rosenbaum completes the three-volume literary history begun with Victorian Bloomsbury (1987) and continued with Edwardian Bloomsbury (1994). As Rosenbaum makes clear in the introduction to the book, the title "Georgian" Bloomsbury may seem inappropriate to describe a group of writers and artists usually considered much more radical in literary form than those writers typically associated with the term via Edward Marsh's Georgian Poetry series (1912-1922). Still, understood through the eyes and mind of Virginia Woolf, who transformed the word in "Mr. Bennett and Mrs. Brown" (1924) from its more traditional use to a concept more closely associated with modernist figures such as Lawrence, Joyce, and Eliot, the term applies. Covering the period 1910-1914 and designed to be read ei232 BOOK REVIEWS ther in conjunction with the other volumes or independently, Rosenbaum's Georgian Bloomsbury mostly succeeds in doing double duty, though at times the volume's ambitious scope weakens some of its more specific theses. The aim of Georgian Bloomsbury appears to be three-fold: to show how post-impressionist art, initiated by Roger Fry's 8 November 1910 exhibit Manet and the Post-Impressionists, made Bloomsbury writing more modernist overall; to highlight the specific instances in which Bloomsbury writing did become more modernist during this period; and to indicate that, despite the influence of post-impressionism, some Bloomsbury writing remained non-modernist. Rosenbaum covers these goals by devoting his opening chapter to the 1910 exhibit and Bloomsbury 's reactions to it and then centering his other chapters around specific texts produced during this period, such as E. M. Forster's Arctic Summer, which Rosenbaum sees as significant because it illustrates Forster's attempt to experiment with non-realist forms while struggling to produce a novel after the success of Howards End; Virginia Woolf 's The Last Voyage, which is the prime example of modernist writing in the study because of its incomplete ending, shifts in perspective, and minimalist detail about the material life; and Leonard Woolf s The Wise Virgins , which Rosenbaum argues is modernist in content but not in form. There also are chapters focusing on Clive Bell's Art, Lytton Strachey's Landmarks in French Literature and selections from Georgian journalism ; these works, of course, are not assessed according to whether they are modernist or not but are judged according to their contribution to the general public's understanding of Bloomsbury values. For example, Rosenbaum explains how Bell's Art functions as the first Bloomsbury manifesto and draws on analogies between art and literature to explore new forms of artistic expression that anticipate modernism and how Strachey's Landmarks in French Literature provided readers with a literary history...


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pp. 232-235
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