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The Space Between: Literature and Culture 1914-1945

Volume 10 | 2014 | The Great War: Centenary Perspectives

A Special Topics Issue

Guest Editor: Mark D. Larabee, U. S. Naval Academy

GUEST EDITOR'S COLUMN

Reimagining the Great War at 100 Years

ARTICLES

The Space Afterwards: 2014 and a Century of British Remembrance

Dan Todman

"A Flora Specific to Modern Wars": The Rhizomatic Feminine Rhetoric of Flowers

Kristina H. Reardon

Proto-Cyborgs in Wartime: The Tank, the Drill, and the Motor-Chair

Robert Hemmings

"Like a beautiful voice singing in a darkened room": Mysticism and Modernity in Rebecca West's The Return of the Soldier

Katherine F. Montgomery

Reading the War's Colonialism: E. M. Forster and Mohammed El Adl

Claire Buck

BOOK REVIEWS

The New Death: American Modernism and World War I

Pearl James

Reviewed by Will Kanyusik, Loras College

Modernism and the New Spain: Britain, Cosmopolitan Europe, and Literary History

Gayle Rogers

Reviewed by Patrick Query, United States Military Academy

Orwell Today

Richard L. Keeble, Editor

Reviewed by Krystyna Wieszczek, University of Southampton

The Love-Charm of Bombs: Restless Lives in the Second World War

Lara Feigel

Reviewed by Paula Derdiger, University of Minnesota-Duluth

Anti-Nazi Modernism: The Challenges of Resistance in 1930s Fiction

Mia Spiro

Reviewed by Judy Suh, Duquesne University

Hollywood and Hitler, 1933-1939

Thomas Doherty

The Collaboration: Hollywood's Pact with Hitler

Ben Urwand

Reviewed by Alexis Pogorelskin, University of Minnesota-Duluth

Sonic Modernity: Representing Sound in Literature, Culture, and the Arts

Sam Halliday

Reviewed by Debra Rae Cohen, University of South Carolina

CONTRIBUTORS

Biographies

A NOTE FROM THE EDITOR

Acknowledgements

This work is licensed under a Creative Commons Attribution 4.0 International License.

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“Modernist Aphasia” examines the early and critically neglected work of Aldous Huxley in order to demonstrate that he foregrounds speech disorders in the service of lexical invention. In seeking out innovative sources for word-making, he attends to the pitfalls and pathologies of stuttering and aphasia in his short story “Half-holiday” (1925) and novel Point Counter Point (1928). In the course of disordering words, Huxley uncovers an aesthetic of novelty that is in fact critical to his agenda as a satirist. Through neologism, he works to restore an era of hackneyed intellectualism and sociocultural ennui. To reorder and rebuild words, he also turns to the scientific and taxonomic lexicon, imitating its models for formulating new words. Throughout these early writings, Huxley emphasizes production over product, suggesting that scientific discourse—whether aphasic language or taxonomic vocabulary—is a critical site for satirizing but also rebuilding modernity.
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