In this Issue

Table of Contents

Introduction: Affective Forms of the Modernist Novel

Doug Battersby
pp. 1-4
DOI: https://doi.org/10.2979/jml.00028
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D. H. Lawrence and Shyness

Kirsty Martin
pp. 5-22
DOI: https://doi.org/10.2979/jml.00029
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Elizabeth Bowen’s Equivocal Modernism

Doug Battersby
pp. 23-40
DOI: https://doi.org/10.2979/jml.00030
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Elizabeth Bowen’s Queer Heart

Andrew Bennett, Nicholas Royle
pp. 41-55
DOI: https://doi.org/10.2979/jml.00031
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True Feints: Samuel Beckett and the Sincerity of Loneliness

Rick de Villiers
pp. 56-70
DOI: https://doi.org/10.2979/jml.00032
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“Other kinds of emotions”: Ishiguro’s Late-Modernist Affect

Ulrika Maude
pp. 71-87
DOI: https://doi.org/10.2979/jml.00033
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Joycean Form, Emotion, and Contemporary Modernism: Ellmann’s Ducks, Newburyport and McCarthy’s The Making of Incarnation

Derek Attridge
pp. 88-105
DOI: https://doi.org/10.2979/jml.00034
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Staging the Surface: James Joyce’s Theater for Theorization in “Circe”

Katherine Franco
pp. 106-123
DOI: https://doi.org/10.2979/jml.00035
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Ferdinand Levy: A Harlem Renaissance Dubliner and De-Colonial Cosmopolitanism

Karl O’Hanlon
pp. 124-144
DOI: https://doi.org/10.2979/jml.00036
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Elizabeth Bowen’s Critical “Scrap Screen”

Danielle N. Gilman
pp. 145-163
DOI: https://doi.org/10.2979/jml.00037
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“He will now think he hears her”: Indirect Perception and the Return to Proust in Samuel Beckett’s Ghost Trio

Jivitesh Vashisht
pp. 164-181
DOI: https://doi.org/10.2979/jml.00038
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Timbral Poetics: Samuel Beckett and the Impossible Voice

Mantra Mukim
pp. 182-199
DOI: https://doi.org/10.2979/jml.00039
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