By P. Brooker

A learn of city identification and group appears to be like at chosen 20th century literary and picture texts within the context of theorizations of modernism, postmodernism, postcoloniality and globalization. Brooker attracts on Beck and Giddens to suggest a 'reflexive modernism' which rewrites and re-imagines the city scene. The vital towns thought of are London and long island, Tokyo, Hong Kong and Bangkok. Writers thought of contain Ezra Pound and T.S. Eliot, Langston Hughes, Hanif Kureishi, Iain Sinclair, Paul Auster, Sarah Schulman and William Gibson. Filmmakers contain Patrick Keiller and Wong Kar-Wai.

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Example text

At Marble Arch they turned down below the site of the old Tyburn gibbet, its associations annulled by the age of public lavatories. Along the avenue running parallel to the main road stood a few carriages under the heavy-leaved trees, the horses’ tails tossing the flies away in the afternoon heat. Where Kensington Gardens are railed off from Hyde Park, under the low-branched chestnuts, nursemaids or couples sit in the shade and the path dips down to the little valley and the Italian garden. Four great pans of water soften over the reflected sky, and only partly hidden by the trees, is the high background of houses along the Bayswater Road.

D. had recently married, the first in a more conventional and the second in a more open ‘“modern marriage”’ (Wilhelm, 1990: 132). Violet Hunt and Ford had been through the scandal of divorce after his first wife had refused to allow Violet Hunt to call herself Hueffer as she had insisted. They too were soon to separate, as Ford and Stella Bowen embarked on a life together. Marriage was a convention women in this group followed, accepted, suffered, or subverted in open relationships. Iris Barry would seem to be a radical instance of this last; living a combination of Dora Marsden’s ‘anarchist individualism’ in a relation of ‘limited monogamy’ (Bland: 79, 86) and of Browne’s bold claim to erotic experience.

D. had recently married, the first in a more conventional and the second in a more open ‘“modern marriage”’ (Wilhelm, 1990: 132). Violet Hunt and Ford had been through the scandal of divorce after his first wife had refused to allow Violet Hunt to call herself Hueffer as she had insisted. They too were soon to separate, as Ford and Stella Bowen embarked on a life together. Marriage was a convention women in this group followed, accepted, suffered, or subverted in open relationships. Iris Barry would seem to be a radical instance of this last; living a combination of Dora Marsden’s ‘anarchist individualism’ in a relation of ‘limited monogamy’ (Bland: 79, 86) and of Browne’s bold claim to erotic experience.

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