The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism''s complex geographies, focusing on Anglo-European modernisms while alsoengaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volumeexamine modernist film and the moving image, and travel and transport in the modern metropolis. ''Movement is reality itself'', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism''s complex geographies, focusing on Anglo-European modernisms while alsoengaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volumeexamine modernist film and the moving image, and travel and transport in the modern metropolis. ''Movement is reality itself'', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

Today interviews proliferate everywhere: in newspapers, on television, and in anthologies; as a method they are a major tool of medicine, the law, the social sciences, oral history projects, and journalism; and in the book trade interviews with authors are a major promotional device. We live in an ''interview society''. How did this happen? What is it about the interview form that we find so appealing and horrifying? Are we all just gossips or is there something moreto it? What are the implications of our reliance on this bizarre dynamic for publicity, subjectivity, and democracy?Literature and the Rise of the Interview addresses these questions from the perspective of literary culture. The book traces the ways in which the interview form has been conceived and deployed by writers, and interviewing has been understood as a literary-critical practice. It excavates what we might call a ''poetics'' of the interview form and practice. In so doing it covers 150 years and four continents. It includes a diverse rostrum of well-known writers, such as Henry James, T. S.Eliot, Ezra Pound, Djuna Barnes, William Burroughs, Philip Roth, J. M. Coetzee and Toni Morrison, while reintroducing some individuals that history has forgotten, such as Betty Ross, ''Queen of Interviewers'', and Julian Hawthorne, Nathaniel''s profligate son. Together these stories expose the interview''sposition in the literary imagination and consider what this might tell us about conceptions of literature, authorship, and reading communities in modernity.

Today interviews proliferate everywhere: in newspapers, on television, and in anthologies; as a method they are a major tool of medicine, the law, the social sciences, oral history projects, and journalism; and in the book trade interviews with authors are a major promotional device. We live in an ''interview society''. How did this happen? What is it about the interview form that we find so appealing and horrifying? Are we all just gossips or is there something moreto it? What are the implications of our reliance on this bizarre dynamic for publicity, subjectivity, and democracy?Literature and the Rise of the Interview addresses these questions from the perspective of literary culture. The book traces the ways in which the interview form has been conceived and deployed by writers, and interviewing has been understood as a literary-critical practice. It excavates what we might call a ''poetics'' of the interview form and practice. In so doing it covers 150 years and four continents. It includes a diverse rostrum of well-known writers, such as Henry James, T. S.Eliot, Ezra Pound, Djuna Barnes, William Burroughs, Philip Roth, J. M. Coetzee and Toni Morrison, while reintroducing some individuals that history has forgotten, such as Betty Ross, ''Queen of Interviewers'', and Julian Hawthorne, Nathaniel''s profligate son. Together these stories expose the interview''sposition in the literary imagination and consider what this might tell us about conceptions of literature, authorship, and reading communities in modernity.

The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism's complex geographies, focusing on Anglo-European modernisms while also engaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volume examine modernist film and the moving image, and travel and transport in the modern metropolis. 'Movement is reality itself', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

Today interviews proliferate everywhere: in newspapers, on television, and in anthologies; as a method they are a major tool of medicine, the law, the social sciences, oral history projects, and journalism; and in the book trade interviews with authors are a major promotional device. We live in an 'interview society'. How did this happen? What is it about the interview form that we find so appealing and horrifying? Are we all just gossips or is there something more to it? What are the implications of our reliance on this bizarre dynamic for publicity, subjectivity, and democracy? Literature and the Rise of the Interview addresses these questions from the perspective of literary culture. The book traces the ways in which the interview form has been conceived and deployed by writers, and interviewing has been understood as a literary-critical practice. It excavates what we might call a 'poetics' of the interview form and practice. In so doing it covers 150 years and four continents. It includes a diverse rostrum of well-known writers, such as Henry James, T. S. Eliot, Ezra Pound, Djuna Barnes, William Burroughs, Philip Roth, J. M. Coetzee and Toni Morrison, while reintroducing some individuals that history has forgotten, such as Betty Ross, 'Queen of Interviewers', and Julian Hawthorne, Nathaniel's profligate son. Together these stories expose the interview's position in the literary imagination and consider what this might tell us about conceptions of literature, authorship, and reading communities in modernity.

This is a book about the messy, archival worlds of literature and computing, and the myriad of relations that have existed between the two. Before J. M. Coetzee was a writer of Nobel-Prize winning novels, the South African was a programmer for one of the most significant Cold War supercomputer projects in Britain. Experimental British writer Christine Brooke-Rose worked at Bletchley Park with Alan Turing. When not opining about modernism, Canadian literary critic Hugh Kenner was a devoted computer hobbyist. Literary scholars have often not known what to make of these 'other careers': intimidating, irrelevant, outside of the scope of literary studies, surely? When they do make links, it is often via the frame of formal logic that has dominated discussions of both computer history and literary modernism. This book starts from a different assumption: that, far from irrelevant, these material experiences were significant in the development of the literary projects of writers including Coetzee, Brooke-Rose, Kenner, William Gaddis, and Kamau Brathwaite. It contends that it is in the practice and the archive, rather than on the plane of abstraction, that we can best see this influence. Addressing literary scholars, media and computer historians, and digital theorists alike, Programming Literature productively reframes contemporary debates around artificial intelligence, the value of the humanities, and tech culture by emphasizing just how material these worlds have always been.

This is a book about the messy, archival worlds of literature and computing, and the myriad of relations that have existed between the two. Before J. M. Coetzee was a writer of Nobel-Prize winning novels, the South African was a programmer for one of the most significant Cold War supercomputer projects in Britain. Experimental British writer Christine Brooke-Rose worked at Bletchley Park with Alan Turing. When not opining about modernism, Canadian literary critic Hugh Kenner was a devoted computer hobbyist. Literary scholars have often not known what to make of these 'other careers': intimidating, irrelevant, outside of the scope of literary studies, surely? When they do make links, it is often via the frame of formal logic that has dominated discussions of both computer history and literary modernism. This book starts from a different assumption: that, far from irrelevant, these material experiences were significant in the development of the literary projects of writers including Coetzee, Brooke-Rose, Kenner, William Gaddis, and Kamau Brathwaite. It contends that it is in the practice and the archive, rather than on the plane of abstraction, that we can best see this influence. Addressing literary scholars, media and computer historians, and digital theorists alike, Programming Literature productively reframes contemporary debates around artificial intelligence, the value of the humanities, and tech culture by emphasizing just how material these worlds have always been.

This is a book about the messy, archival worlds of literature and computing, and the myriad of relations that have existed between the two. Before J. M. Coetzee was a writer of Nobel-Prize winning novels, the South African was a programmer for one of the most significant Cold War supercomputer projects in Britain. Experimental British writer Christine Brooke-Rose worked at Bletchley Park with Alan Turing. When not opining about modernism, Canadian literary critic Hugh Kenner was a devoted computer hobbyist. Literary scholars have often not known what to make of these 'other careers': intimidating, irrelevant, outside of the scope of literary studies, surely? When they do make links, it is often via the frame of formal logic that has dominated discussions of both computer history and literary modernism. This book starts from a different assumption: that, far from irrelevant, these material experiences were significant in the development of the literary projects of writers including Coetzee, Brooke-Rose, Kenner, William Gaddis, and Kamau Brathwaite. It contends that it is in the practice and the archive, rather than on the plane of abstraction, that we can best see this influence. Addressing literary scholars, media and computer historians, and digital theorists alike, Programming Literature productively reframes contemporary debates around artificial intelligence, the value of the humanities, and tech culture by emphasizing just how material these worlds have always been.

The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism''s complex geographies, focusing on Anglo-European modernisms while alsoengaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volumeexamine modernist film and the moving image, and travel and transport in the modern metropolis. ''Movement is reality itself'', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism''s complex geographies, focusing on Anglo-European modernisms while alsoengaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volumeexamine modernist film and the moving image, and travel and transport in the modern metropolis. ''Movement is reality itself'', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

Today interviews proliferate everywhere: in newspapers, on television, and in anthologies; as a method they are a major tool of medicine, the law, the social sciences, oral history projects, and journalism; and in the book trade interviews with authors are a major promotional device. We live in an ''interview society''. How did this happen? What is it about the interview form that we find so appealing and horrifying? Are we all just gossips or is there something moreto it? What are the implications of our reliance on this bizarre dynamic for publicity, subjectivity, and democracy?Literature and the Rise of the Interview addresses these questions from the perspective of literary culture. The book traces the ways in which the interview form has been conceived and deployed by writers, and interviewing has been understood as a literary-critical practice. It excavates what we might call a ''poetics'' of the interview form and practice. In so doing it covers 150 years and four continents. It includes a diverse rostrum of well-known writers, such as Henry James, T. S.Eliot, Ezra Pound, Djuna Barnes, William Burroughs, Philip Roth, J. M. Coetzee and Toni Morrison, while reintroducing some individuals that history has forgotten, such as Betty Ross, ''Queen of Interviewers'', and Julian Hawthorne, Nathaniel''s profligate son. Together these stories expose the interview''sposition in the literary imagination and consider what this might tell us about conceptions of literature, authorship, and reading communities in modernity.

Today interviews proliferate everywhere: in newspapers, on television, and in anthologies; as a method they are a major tool of medicine, the law, the social sciences, oral history projects, and journalism; and in the book trade interviews with authors are a major promotional device. We live in an ''interview society''. How did this happen? What is it about the interview form that we find so appealing and horrifying? Are we all just gossips or is there something moreto it? What are the implications of our reliance on this bizarre dynamic for publicity, subjectivity, and democracy?Literature and the Rise of the Interview addresses these questions from the perspective of literary culture. The book traces the ways in which the interview form has been conceived and deployed by writers, and interviewing has been understood as a literary-critical practice. It excavates what we might call a ''poetics'' of the interview form and practice. In so doing it covers 150 years and four continents. It includes a diverse rostrum of well-known writers, such as Henry James, T. S.Eliot, Ezra Pound, Djuna Barnes, William Burroughs, Philip Roth, J. M. Coetzee and Toni Morrison, while reintroducing some individuals that history has forgotten, such as Betty Ross, ''Queen of Interviewers'', and Julian Hawthorne, Nathaniel''s profligate son. Together these stories expose the interview''sposition in the literary imagination and consider what this might tell us about conceptions of literature, authorship, and reading communities in modernity.

The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism's complex geographies, focusing on Anglo-European modernisms while also engaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volume examine modernist film and the moving image, and travel and transport in the modern metropolis. 'Movement is reality itself', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

Today interviews proliferate everywhere: in newspapers, on television, and in anthologies; as a method they are a major tool of medicine, the law, the social sciences, oral history projects, and journalism; and in the book trade interviews with authors are a major promotional device. We live in an 'interview society'. How did this happen? What is it about the interview form that we find so appealing and horrifying? Are we all just gossips or is there something more to it? What are the implications of our reliance on this bizarre dynamic for publicity, subjectivity, and democracy? Literature and the Rise of the Interview addresses these questions from the perspective of literary culture. The book traces the ways in which the interview form has been conceived and deployed by writers, and interviewing has been understood as a literary-critical practice. It excavates what we might call a 'poetics' of the interview form and practice. In so doing it covers 150 years and four continents. It includes a diverse rostrum of well-known writers, such as Henry James, T. S. Eliot, Ezra Pound, Djuna Barnes, William Burroughs, Philip Roth, J. M. Coetzee and Toni Morrison, while reintroducing some individuals that history has forgotten, such as Betty Ross, 'Queen of Interviewers', and Julian Hawthorne, Nathaniel's profligate son. Together these stories expose the interview's position in the literary imagination and consider what this might tell us about conceptions of literature, authorship, and reading communities in modernity.

This is a book about the messy, archival worlds of literature and computing, and the myriad of relations that have existed between the two. Before J. M. Coetzee was a writer of Nobel-Prize winning novels, the South African was a programmer for one of the most significant Cold War supercomputer projects in Britain. Experimental British writer Christine Brooke-Rose worked at Bletchley Park with Alan Turing. When not opining about modernism, Canadian literary critic Hugh Kenner was a devoted computer hobbyist. Literary scholars have often not known what to make of these 'other careers': intimidating, irrelevant, outside of the scope of literary studies, surely? When they do make links, it is often via the frame of formal logic that has dominated discussions of both computer history and literary modernism. This book starts from a different assumption: that, far from irrelevant, these material experiences were significant in the development of the literary projects of writers including Coetzee, Brooke-Rose, Kenner, William Gaddis, and Kamau Brathwaite. It contends that it is in the practice and the archive, rather than on the plane of abstraction, that we can best see this influence. Addressing literary scholars, media and computer historians, and digital theorists alike, Programming Literature productively reframes contemporary debates around artificial intelligence, the value of the humanities, and tech culture by emphasizing just how material these worlds have always been.

This is a book about the messy, archival worlds of literature and computing, and the myriad of relations that have existed between the two. Before J. M. Coetzee was a writer of Nobel-Prize winning novels, the South African was a programmer for one of the most significant Cold War supercomputer projects in Britain. Experimental British writer Christine Brooke-Rose worked at Bletchley Park with Alan Turing. When not opining about modernism, Canadian literary critic Hugh Kenner was a devoted computer hobbyist. Literary scholars have often not known what to make of these 'other careers': intimidating, irrelevant, outside of the scope of literary studies, surely? When they do make links, it is often via the frame of formal logic that has dominated discussions of both computer history and literary modernism. This book starts from a different assumption: that, far from irrelevant, these material experiences were significant in the development of the literary projects of writers including Coetzee, Brooke-Rose, Kenner, William Gaddis, and Kamau Brathwaite. It contends that it is in the practice and the archive, rather than on the plane of abstraction, that we can best see this influence. Addressing literary scholars, media and computer historians, and digital theorists alike, Programming Literature productively reframes contemporary debates around artificial intelligence, the value of the humanities, and tech culture by emphasizing just how material these worlds have always been.

This is a book about the messy, archival worlds of literature and computing, and the myriad of relations that have existed between the two. Before J. M. Coetzee was a writer of Nobel-Prize winning novels, the South African was a programmer for one of the most significant Cold War supercomputer projects in Britain. Experimental British writer Christine Brooke-Rose worked at Bletchley Park with Alan Turing. When not opining about modernism, Canadian literary critic Hugh Kenner was a devoted computer hobbyist. Literary scholars have often not known what to make of these 'other careers': intimidating, irrelevant, outside of the scope of literary studies, surely? When they do make links, it is often via the frame of formal logic that has dominated discussions of both computer history and literary modernism. This book starts from a different assumption: that, far from irrelevant, these material experiences were significant in the development of the literary projects of writers including Coetzee, Brooke-Rose, Kenner, William Gaddis, and Kamau Brathwaite. It contends that it is in the practice and the archive, rather than on the plane of abstraction, that we can best see this influence. Addressing literary scholars, media and computer historians, and digital theorists alike, Programming Literature productively reframes contemporary debates around artificial intelligence, the value of the humanities, and tech culture by emphasizing just how material these worlds have always been.