By Victoria Rosner
Modernism and the structure of personal lifestyles deals a daring new evaluation of the function of the household sphere in modernist literature, structure, and layout. Elegantly synthesizing modernist literature with architectural plans, room designs, and ornamental artwork, Victoria Rosner's paintings explores the collaborations between smooth British writers, inside designers, and designers in redefining the shape, functionality, and which means of middle-class deepest lifestyles. Drawing on a number of formerly unexamined archival resources and works through figures comparable to E. M. Forster, Roger Fry, Oscar Wilde, James McNeill Whistler, and Virginia Woolf, Rosner highlights the participation of modernist literature within the construction of an experimental, embodied, and unstructured deepest existence, which we proceed to symbolize as "modern."
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Extra resources for Modernism and the Architecture of Private Life
Sample text
20 Kitchen Table Modernism new kind of interior design—though it surely was that—Bell’s room seemed to suggest a new way of thinking about the hierarchy of household life. 55 This short magical tale tells of a homely children’s nurse sitting over her sewing. The curtain she sews seems to have been taken from the “PostImpressionist Nursery,” for it is covered with jungle animals. When the nurse dozes off over her work, the figures on the curtain come to life: “The animals with which [the curtain] was covered did not move till Nurse Lugton snored for the fifth time.
Though Wilde was no designer and few of the new reforms in interior decoration originated with him, he was widely identified with design reform, especially its aesthetic arm, and did much to disseminate the new ideas to the public. He was a figurehead for the aesthetic movement; more than anyone else, his dress, his opinions, and his personal style affected the public perception of the aesthetes and colored the movement’s legacy. For the aesthetes, the house produced its owner as a work of art in his own right, a philosophy Wilde carried into his own home.
Their “household memoirs,” as I term them, reveal writers who work against the conventions of lifewriting in the same way they resist the confinements physically imposed upon them by their surroundings. I argue that resistance to Victorian domestic practices and resistance to Victorian life-writing practices intertwine in these memoirs and that the threshold—the transition between rooms—is the ground of such resistance. By textually rebuilding and critiquing their childhood homes, Woolf and Strachey negatively delineate the contours of an alternative domesticity which forms the basis of their life-writing practice.
