Front Lines of Modernism

Introduction: Unsettled Space Military Mapping and Modernist Aesthetics: Blunden, Aldington, and Ford In Flanders with No Baedeker: Beaman, Forster, and Ford The Persistence of Landscape: Montague and West Fluid Front Lines: Conrad and Woolf Conclusion: The Presence of Landscape and the Meaning of History

MARK D. LARABEE is Executive Editor of Joseph Conrad Today, and Assistant Professor and Associate Chair in the Department of English at the U.S. Naval Academy.

"Front Lines of Modernism takes a new look at old texts. Through topography, space, place and modernism, it provides original readings of important early twentieth-century works . . . [and] is an innovative study of literature, cartography and geography that demonstrates the power of modernism to both heal and redeem. Larabee's eloquently written, sophisticated study is a scholarly work of considerable magnitude." - Jane Mattisson, English Studies

"This comparative strategy produces a series of refreshing and innovative readings . . . Larabee's methodology succeeds largely due to his impressive grasp of battlefield conditions during World War I and British military history." - Claire Barber, Modern Fiction Studies

"A suggestive, well researched, highly readable book that offers an interesting insight on the development of British fiction through the intertwining of mapping, a new sense of experiencing and describing reality, and the trauma of the Great War" - Juan Herrero-Senés, Studies in the Novel

"Insightful and visionary . . . Larabee proves his claims multiple times over . . . this book condenses a valuable and fascinating intersection of the Great War and the modernist sense of space and place for scholars of history, literature, cultural studies, political science, and beyond" - Darcy Lewis, Joseph Conrad Today

"This is, undoubtedly, an important book. Larabee takes the reader easily through a subtle and sophisticatedargument about maps, mapping and modernism, to present original readings of a range of British fiction and its engagement with the inarticulable experiences of the Great War. It is an elegant and very well-informed example of the 'spatial turn' in contemporary criticism, but it also marks an advance on much of the literary criticism written from this perspective in that it challenges the dominant critical concern with maps and power to focus instead on knowledge and the limits of representation. The ease