1. Into Cleanness Leaping: Brooke, Eliot, and the Decadent Body
  2. Martin Lockerd
  3. pp. 1-13
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  1. Typewriter Psyche: Henry James’s Mechanical Mind
  2. Matthew Schilleman
  3. pp. 14-30
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  1. “The Lives of Others”: Motoring in Henry James’s “The Velvet Glove”
  2. Alicia Rix
  3. pp. 31-49
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  1. Interruption Overload: Telephones in Ford Madox Ford’s “‘4692 Padd’,” A Call and A Man Could Stand Up —
  2. Kate McLoughlin
  3. pp. 50-68
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  1. Virginia Woolf’s Emersonian Metaphors of Sight in To the Lighthouse: Visionary Oscillation
  2. Rosemary Luttrell
  3. pp. 69-80
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  1. Beckett, Painting and the Question of “the human”
  2. Kevin Brazil
  3. pp. 81-99
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  1. Dogging the Subject: Samuel Beckett, Emmanuel Levinas, and Posthumanist Ethics
  2. Karalyn Kendall-Morwick
  3. pp. 100-119
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  1. “There will be a new embodiment, in a new way”: Alternative Posthumanisms in Women in Love
  2. Deanna Wendel
  3. pp. 120-137
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  1. “She was born a thing”: Disability, the Cyborg and the Posthuman in Anne McCaffrey’s The Ship Who Sang
  2. Ria Cheyne
  3. pp. 138-156
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  1. “More than Anything Else, I Like My Closets”: Willa Cather’s Melancholic Erotics in The Professor’s House
  2. Madoka Kishi
  3. pp. 157-173
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  1. Fallen Love: Eros and Ta’wīl in the Poetry of Robert Duncan
  2. Ross Hair
  3. pp. 174-193
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  1. Speaking the Unnamable: A Phenomenology of Sense in T.S. Eliot’s Four Quartets
  2. Jūratė Levina
  3. pp. 194-211
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  1. Editor’s Introduction: Organisms and Machines
  2. Robert L. Caserio
  3. pp. v-vi
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  1. Notes on Contributors
  2. pp. 212-214
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