Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
affect, 25–27, 81, 110, 126, 163–164, 166, 184, 188, 190–191, 203, 205, 263n20, 273n38
After Leaving Mr. Mackenzie (Rhys), 165, 194
alcohol, 2, 15, 21, 23, 31; Hamilton and, 165, 168–169, 172–174, 181, 185; Loos and, 209; Rhys and, 165, 172–173, 194. See also drugs, drug habit
American Aristocracy (film), 217–218
Antony and Cleopatra (Shakespeare), 41, 57
art, 23, 109, 138–139, 140, 146, 232, 235, 238, 249n69, 278n54
audience: and cinema, 131–134, 140–142, 144, 147, 153, 158, 192–194, 217–221; and desert romance genre, 93, 104, 111; female audiences associated with low forms of pleasure, 102, 106, 108, 144, 165, 188, 192 (see also cinema; desert romance genre; romance novels); and innovation, 103–4; Lawrence and, 89, 108, 119, 128; Leavis and, 100, 102; and pornography, 110, 119; relationship between modernist artist and audience, 20 (see also difficulty; reading as a challenging experience); Rhys and, 193–196; Stein and, 65, 73, 81–86; and tragedy, 162, 183–184; and use of clichés to evoke stock responses, 100–101. See also reading; specific authors
The Autobiography of Alice B. Toklas (Stein), 66
“Avant-Garde and Kitsch” (Greenberg), 23
Barthes, Roland, 7, 11, 26, 27, 34, 103, 205, 243, 256n78, 272n25
Baudelaire, Charles, 10, 39
“Bliss” (Mansfield), 25–26
Brave New World (Huxley), 30–31; and black sexuality, 148–149; and censorship, 157; conditioning to reject “old” pleasures, 152–153; discrepancy between depictions of pleasure and Huxley’s avowed stance, 27, 156–157, 161; as dystopia, 134–135; and educational films, 155; “feelies,” 136–138, 141–153 (see also “feelies”); film adaptation attempts, 158–160; as negative utopia, 134, 135, 157; and perfume, 41, 151; pleasure in, 134–136, 141–143, 149–150, 161; sexually charged scenes, 150–152 (see also “feelies”); Shakespeare and, 146–147, 149–150, 270n64; soma, 150; somatic pleasure, 132, 142, 145, 149–150, 161
Brighton Rock (Greene), 21
Broadway Melody (film), 267n24
Bryher (Annie Winifred Ellerman), 132
By Way of France (film), 215
Chaplin, Charlie, 4, 28, 76, 77, 107, 132–133, 138, 158, 159, 212, 214
cinema: and audience, 131–133, 147, 192–194, 217–221; and black sexuality, 147–149; and boundaries between the arts, 138–140; and desert romance genre, 103–4, 262n13; and education, 131–132, 144, 154–155, 270n64; as female space, 92, 192–194; film versions of desert romances, 103–4; Hamilton and, 165, 176–180, 185; Huxley and, 18, 130–133, 139–140, 152–153, 157–161, 266n4 (see also “feelies”); Lawrence and, 106–7; Loos and, 32, 211–212, 214–224, 227–229, 277n42; as low form of pleasure, 16, 18–19, 21, 119, 132–135, 140, 213; as narcotic, 132, 177–178, 180, 240, 267n15; nature documentaries, 153–154; perceived potential of, 139–140, 156, 270n70; Rhys and, 165, 192–199; Shakespeare and, 269n52, 270n64; Shaw and, 266n5; as shock vs. narcotic, 141; silent cinema (see silent cinema); sociopolitical potential, 156; as somatic pleasure, 28, 132–133; talkies/sound film, 27–28, 31, 130–143, 147–148, 151, 154, 156, 159–160, 168, 211, 234, 266n4, 267nn16,18, 269n52; typist–cinema connection, 224–229, 277n39; Woolf and, 132, 133. See also specific films
Civilization and Its Discontents (Freud), 24
clichés, 100–104; and art, 106; and desert romance genre, 92, 93, 98, 100, 104, 111, 129; Hamilton and, 167, 173, 179, 183; Joyce and, 34, 101; Lawrence and, 27, 30, 105–6, 111; Loos and, 212, 225; and pornography, 110–112; Rhys and, 191, 203
Coleridge, Samuel Taylor, 195
“Composition as Explanation” (Stein), 82–83
desert romance genre, 90–111; appeal to women, 104; and balance of the novel and the familiar, 104; film versions, 103–4, 262n13; forerunners, 262n17; popularity with British vs. American women, 263n18; as pornography, 108–9; and predictability, 92, 93; and the “typist’s day-dream,” 102–3; women’s magazines, 92–93; works listed, 101. See also Lawrence, D. H.; The Sheik
desire, 4, 9; Brooks on, 247n38; contrast to pleasure, 11–12, 247n38. See also sexuality and eroticism
Diepeveen, Leonard, 21, 22
difficulty, 6, 10, 13, 17–24, 34, 137–238, 242–244, 249–250nn59,69,81, 261n3, 267n18, 275n57; Hamilton and, 163, 185; Huxley and, 127–129, 136; Joyce and, 31, 34, 48, 62, 87; Rhys and, 163, 207; and sound film, 133; Stein and, 65–66, 87–90
Diogenes or the Future of Leisure (Joad), 16–17
drugs, drug habit, 15, 19, 21, 112–113, 150, 174, 239, 243, 270n68; cinema as narcotic, 132, 177–178, 180, 240, 267n15; popular novels as drugs, 101; Rhys and, 202. See also alcohol
education: and film, 131–132, 144, 152–155, 270n64; of readers, 6, 62, 88, 104, 221, 233. See also pedagogical nature of modernism
Eliot, T. S., 20; and cinema, 240; on novelty as superior to repetition, 103; and perfume, 41–42; on popular literature, 15–16; The Waste Land, 2, 23, 41–42, 102, 225; Woolf and, 69–70
Ellis, Havelock, 23, 36, 53, 55, 57, 75, 76, 251n10, 254n52
Enemies of Promise (Connolly), 66, 213
eroticism. See sexuality and eroticism
Everybody’s Autobiography (Stein), 73
The Expression of the Emotions in Man and Animals (Darwin), 76–77
fantasy fiction, 102, 104. See also desert romance genre
“feelies” (Huxley’s films in Brave New World), 30–31, 141–153, 269n53, 270n64; bearskin rug episode, 136–137, 141, 145; and cultural degeneration, 140; Glyn’s Three Weeks and, 143, 145–146; meanings and goals of, 15, 141, 145–147; and olfaction, 41, 137–138, 140; and racial stereotypes, 148; The Savage of Surrey, 142–143, 152–153; The Sperm Whale’s Love-Life, 153; Three Weeks in a Helicopter, 135, 137, 140–152
film. See cinema
The Floorwalker (film), 76
Freud, Sigmund: Beyond the Pleasure Principle, 6–7, 23–24, 250n72; Civilization and Its Discontents, 24; contrast to Stein, 65; and Gentleman Prefer Blondes, 213; and humor, 273n38; Jokes and Their Relation to the Unconscious, 273n38; and love of repetition, 81; and masochism, 171; and olfaction, 36, 57; Three Essays on the Theory of Sexuality, 36, 77, 171; and tickling, 77, 259n42; and unpleasure, 23–24, 171, 183–184, 250n72
Galopin, Augustin, 40, 50
Gentlemen Prefer Blondes (Loos), 32, 209–214, 229–235; critical reviews, 210–213, 229–230, 233; difficulty of categorizing, 210–211; film adaptation, 209, 234; and humor, 230–231; Lawrence and, 107; Lorelei’s role in Intolerance, 222–223; and typist–cinema connection, 224–229; use of language, 212, 229–235; voice, 209, 229–231
Geography and Plays (Stein), 80
Giacomo Joyce (Joyce), 61
“Good-bye Marcus, Good-bye Rose” (Rhys), 275n52
Good Morning, Midnight (Rhys), 1–3, 25, 203–4, 207, 273nn33,34; description of themes, plot, and characters, 187, 189–190; and filmgoing as representing other people’s pleasures, 193–194; and negation of pleasure, 187, 192, 199, 204–5
Hamilton, Patrick, 25, 31, 162–187; and alcohol/intoxication, 165, 168–169, 172–174, 181, 185; characters’ self-defeating decisions and denial of agency, 180–183; and cinema, 165, 176–180; critical reviews, 166, 170, 271n12; description of themes, plots, and characters in novels, 162–165, 169–170; and dysphoria, 163–164, 168; and enjoyment of frustration/frustration of enjoyment, 171, 180–181; The Gorse Trilogy, 184; Hangover Square, 162, 167–168, 170, 184; Impromptu in Moribundia, 167; and masochism, 172; The Midnight Bell, 162, 168–170, 182–183; The Plains of Cement, 162, 170, 173, 177–179; and prostitution, 165, 169–170, 172–174, 181, 272n29; Rope, 182, 184–187; and sexuality, 173–174; The Siege of Pleasure, 162, 170, 171, 272n29; Slaves of Solitude, 162; and Turkish Delight, 175–178; Twenty Thousand Streets Under the Sky trilogy (see Twenty Thousand Streets Under the Sky); and unpleasure, 163–164; and vernacular culture, 165, 168, 172, 192; and winning of distinction through refusal/impasse of pleasure, 163–165, 169, 171, 172, 174, 178, 180–183, 186–187
Hangover Square: A Story of Darkest Earl’s Court (Hamilton), 162, 167–168, 170, 184
hedonism, 7–10, 12, 31, 142–143, 161, 171, 175, 238, 240–141, 243, 247n30. See also pleasure, somatic
L’Heure Bleue (perfume), 37
A High Wind in Jamaica (Hughes), 202–3
His Picture in the Papers (film), 216
“How I Was Loved By a Sheik!” (Speller), 92–93
humor, 6, 20, 25, 31, 51, 58, 61, 68, 75; and education, 82; Freud and, 273n38; Hamilton and Rhys and, 160, 166, 189–190, 205–7; Huxley and, 143, 151, 159; Loos and, 212, 217, 219, 221, 224, 229–235. See also irony; satire
Huxley, Aldous, 30–31, 130–161; and cinema, 130–133, 138–140, 153, 157–161, 240, 266n4 (see also “feelies”); and cultural degeneration, 130, 133–135, 138, 140, 149–150; discrepancy between depictions of pleasure and Huxley’s avowed stance, 27, 156–157, 161; and education, 26, 131; Glyn and, 144; as Hollywood scriptwriter, 157–161; Loos and, 32, 158, 210; and pleasure (see Brave New World); “Pleasures” essay, 18–19, 143; and race/ethnicity, 148–149; response to talking pictures, 130–133, 138. See also Brave New World; cinema; “feelies”
Impromptu in Moribundia (Hamilton), 167
irony, 3, 5, 11, 16, 20, 21, 22, 27; and censorship, 62, 129, 157; contrast to tickling, 77; Hamilton and, 168; Huxley and, 31; Joyce and, 5, 52; Loos and, 210, 218, 230, 231, 234; Rhys and, 189–191, 205. See also satire
Jameson, Frederic, 11, 157
Joyce, James, 14, 20, 25–26, 29, 33–62, 100; Bloomsday celebration, 236–237; and Catholicism, 43–45, 49–50, 59–60, 256n81; Finnegans Wake, 232, 250n83; Giacomo Joyce, 61; Lawrence and, 105, 264n31; letters to Nora Barnacle, 57, 61; Loos and, 210, 232; and olfaction/perfume, 29, 34–35, 43–61, 254n53; and pedagogical nature of modernism, 26, 62; Portrait of the Artist as a Young Man, 43–45; and sensuality, 43–44, 61–62; and tickling, 76; Ulysses (see Ulysses); and unpleasure, 49–53, 56, 57
Keep the Aspidistra Flying (Orwell), 21–22
Kiss Hollywood Good-by (film), 277n42
Kittler, Freidrich A., 226
Krafft-Ebing, Richard von, 23, 36, 57
“Kubla Khan” (Coleridge), 195
Lady Chatterley’s Lover (Lawrence), 15, 90, 111, 118–129; anal sex scenes, 124–128; and Glyn’s Three Weeks, 268n43; and Hull’s The Sheik, 90, 119, 124–126; and Lawrence’s intentions to discipline and curtail pleasure, 90, 118–119, 121, 124, 127–129
Lawrence, D. H., 89–129, 261nn2,3; and audience, 89–90, 116–117, 119, 121, 123, 127–128; and balance of innovation and repetition, 30, 104; and cinema, 240; disciplinary approach to pleasure, 116–118, 121, 124, 127–129; on distinction between serious and popular fiction, 105–111; and Glyn’s Three Weeks, 268n43; and Hull’s The Sheik, 30, 106–118, 119, 124–126; Joyce and, 264n31; Lady Chatterley’s Lover (see Lady Chatterley’s Lover); Loos and, 210; and novelty, 105–6; and orgasm, 15, 116, 118, 121–124, 127, 129; and pedagogical nature of modernism, 26, 90, 104, 118–119, 121–122, 127–128; and pornography, 107–8, 120; and repetition, 105, 121, 264n32; Stein and, 264n31
Leavis, Q. D.: advocacy of modernist fiction as antidote to popular fiction, 104; distinction between modern and popular culture, 13–14; and fantasy genre, 101–2; Loos and, 32, 210, 212, 229; objections to consumption of vernacular culture, 19, 100–102, 144, 234
Lectures in America (Stein), 82
To the Lighthouse (Woolf), 5
The Lion, the Witch, and the Wardrobe (Lewis), 175, 272n23
The Living Desert (film), 153
A Long Gay Book (Stein), 75
Loos, Anita, 31–32, 209–235; and audience, 217–219, 231, 233; cinema writing (titling and screenplays), 211–212, 214–224, 227–229, 277n42; Faulkner and, 230–231; Gentlemen Prefer Blondes (see Gentlemen Prefer Blondes); A Girl Like I, 227–228; and humor, 212–213, 215–221, 230–231, 277n42; Huxley and, 158, 210; and Intolerance (film), 220–224, 277n35; Joyce and, 210, 232; Lee (Gypsy Rose) and, 234; Stein and, 232; and typist– cinema connection, 224–229. See also cinema; intertitles/subtitles
The Lustful Turk (anonymous), 108–9
masochism, 20, 23–25, 31, 57, 59, 106–7, 144, 171–172, 189, 200, 202, 256n76, 273n37. See also Hamilton, Patrick; Rhys, Jean
mass culture, 12, 15, 27, 34, 103, 133, 163, 178, 192, 213, 222, 226, 236, 239, 242, 249n68; Hamilton and, 163, 165, 167, 172, 178, 182, 192; Huxley and, 132, 135, 140–142, 150; Loos and, 201–13; Orwell and, 157; Rhys and, 163, 165, 188, 191–193. See also vernacular culture
masturbation, 19, 50, 61, 101, 108, 119, 120, 123, 128, 167
Matisse Picasso and Gertrude Stein (Stein), 81, 87
The Midnight Bell (Hamilton), 162, 168–170, 182–183. See also Twenty Thousand Streets Under the Sky
modernist writers, 12–13; discrepancy between modernist texts and authors’ avowed stances, 3, 27, 156–157, 161, 183; dismissal of accessible pleasure/valorization of the “difficult,” 5–6, 9–10, 12–25 (see also reading as a challenging experience; specific authors); and education of readers (see pedagogical nature of modernism); formal rhetorics (irony, fragmentation, etc.), 3, 20 (see also specific authors); and reconceptualization of pleasure, 3, 5–6 (see also pleasure); relationship between artist and audience (see audience). See also unpleasure; specific authors
Moore, Henry Thomas, 17–18
music, 2, 15, 17–18, 23, 46, 165, 188, 192; and cinema, 132, 137, 139, 154, 195; musical comedy, 31, 158–161, 209, 270n70; and odor, 33, 35, 46, 50, 57. See also gramophone; music hall; radio
My Story Weekly (magazine), 91–93
The New York Hat (film), 215
The Nicomachean Ethics (Aristotle), 246n23
novels, popular, 28, 165, 188; critical reviews of The Sheik and other popular fiction of the 1920s, 99–104; as drug habit, 101; Glyn’s Three Weeks, 143–146, 268–269nn43,47,48; Lawrence and, 105–111; Leavis and, 13–14, 100–102, 104, 144. See also desert romance genre; The Sheik
novelty/innovation, and pleasure, 6, 14, 18, 22, 30, 33, 37, 41, 87, 90, 103–4, 106, 129, 135–136, 139, 207, 211–212, 220, 222, 238, 244, 263n29
odor. See olfaction
olfaction, 29; Bloch and, 252n17; and Catholicism, 43–45, 49–50, 59–60; Ellis and, 251n10, 254n52; Freud and, 36, 57; historical overview, 35–43, 251n9, 252nn20,25; Hull and, 97; Huxley and, 41, 137–138, 140, 151; Joyce and, 43–62, 251n5, 254n53, 256nn73,74; Lawrence and, 41; and memory, 36, 39, 46, 53; and mental unbalance, 56–57; Orwell and, 253n44, 254n58; and sexuality, 36, 43–44, 46–47, 52, 54–55, 254n44; and social class, 50, 254n58. See also perfume
orientalism, 29, 54, 92–93, 98–99, 145, 175–177, 195, 262n14, 263n21, 265n40, 272n26
Pain and Pleasure (Moore), 17–18
Le Parfum de la femme (Galopin), 40, 50
Peau d’Espagne (perfume), 55–56, 62
pedagogical nature of modernism, 6, 21, 26, 28, 82, 131, 155; Huxley and, 26, 152–153; Joyce and, 26, 62; Lawrence and, 26, 90, 104, 118–119, 121–122, 127–128; Loos and, 215, 217, 228–229, 233; Stein and, 26, 82–83, 88. See also education
perfume, 29, 33–62, 252n23, 253n33, 255n72; animalistic scents, 37, 40, 42, 52–53, 55–56; “cheap” perfume, 42, 52, 56; dispersal of, 48; Eliot and, 41–42; floral scents, 37, 40; historical overview, 35–43; Huxley and, 41, 151; ingredients, 37, 40, 42, 53–55, 61; Joyce and, 34–35, 44–62, 251n5; and prostitution, 41–42, 52; and sexuality, 41–42, 54–55; and social class, 252n25; Woolf and, 42
Perfume: The Story of a Murderer (Suskind), 252n16
Photoplay: A Psychological Study (Münsterberg), 214
The Picture of Dorian Gray (Wilde), 10
The Plains of Cement (Hamilton), 162, 170, 173, 177–179. See also Twenty Thousand Streets Under the Sky
pleasure: and balance of innovation and repetition or familiarity, 30, 90, 103–4, 106, 129, 263n29; collision of different levels of cultural pleasure, 9, 13, 35, 46, 219, 231, 233, 238, 242–243 (see also Loos, Anita); current paradigm shift, 242–243; decadence and aestheticism, 10; defined/described, 7–12, 165, 246n23, 247nn30,38; discrepancy between modernist texts and authors’ avowed stances, 3, 27, 31, 156–157, 161, 183; and effort, 13–14, 16–19, 102 (see also pedagogical nature of modernism; reading as a challenging experience); elite/popular or high/low divide, 3, 8–10, 13–14, 16, 238 (see also specific authors); and ethics, 7–8, 163, 165, 172, 178, 180, 182; and extinguishing tension, 8, 24, 165, 171, 206; and false consciousness, 104, 226; and humor (see humor); and mingling of pleasure and displeasure, 64, 75–76, 88 (see also tickling; unpleasure); and modern art, 250n69; modernist reconceptualization, 3, 25–32, 102 (see also specific authors); and postmodernism, 238–242; Trilling on, 4, 24; types of, 3, 7–12, 27 (see also pleasure, cognitive; pleasure, somatic). See also specific philosophers and writers
pleasure, cognitive: and effort, 3, 5–6, 19, 20–22, 216, 242; as higher form of pleasure, 3, 8–10, 19; modernism’s advocacy of, 12–25; and “shock” of modernist fiction as contrast to clichés in popular novels, 101, 103, 104
pleasure, somatic: associated with femininity, 19, 28, 165, 188, 212 (see also women); excess of (see alcohol; candy); Hamilton and, 163–165, 168; Hull and, 96, 98, 126; Huxley and (see Brave New World; Huxley, Aldous); Joyce and, 34, 43, 57, 61–62 (see also olfaction; perfume); Lawrence and, 106, 117, 128 (see also Lady Chatterley’s Lover; Lawrence, D. H.); as lower form of pleasure, 3, 8–10, 15, 19; modernism’s dismissal of, 12–25, 129, 164–165, 238, 243–244; Rhys and, 163–165, 188; Stein and, 75, 80–81, 87; and use of clichés to evoke stock responses, 100–101. See also alcohol; candy; cinema; music; olfaction; perfume; pornography; prostitution; sexuality and eroticism; tickling
The Pleasure of the Text (Barthes), 7, 11, 205
popular culture. See vernacular culture
pornography, 22, 34, 104, 126, 149, 198; Hull and, 109–110; Joyce and, 59, 61–62; Lawrence and, 107–8, 110, 117–120, 123, 126, 129; Stein and, 65; use of clichés, 111–112
Portrait of the Artist as a Young Man (Joyce), 43–45
Principia Ethica (Moore), 171
The Principles of Morals and Legislation (Bentham), 6
Principles of Psychology (James), 63–64
prostitution, 31, 41, 149; Hamilton and, 29, 31, 164, 165, 169–170, 172–174, 177, 179, 181, 187, 272n29; Intolerance (film) and, 223; Loos and, 223, 227; and perfume, 41–42, 52, 253n44; Rhys and, 31, 165, 188, 198, 203, 275n54
race, 28–29, 47, 98, 111, 114–115, 117; Huxley and, 143, 147–149, 156; Rhys and, 164, 189, 192, 197, 199
readers, education of, 6, 62, 88, 104, 221, 233. See also pedagogical nature of modernism
reading: and Barthes’s text of bliss, 26; collaborative or seductive model of readership, 20; combative or masochistic model of readership, 20; and computers, 243; impact of Hamilton and Rhys’s black humor and impasse of pleasure, 166, 205–6; Loos’s title writing for the silent cinema, 211–212, 214–224, 227–229; and modernism vs. popular culture, 13–14; and purpose of literature, 3, 206; and use of clichés to evoke stock responses, 100–101. See also audience; difficulty; pedagogical nature of modernism; reading as a challenging experience
reading as a challenging experience, 2–6, 10, 13, 14, 16–17, 19–23, 25–28, 31, 238, 249n60; contingent vs. ontological or tactical difficulty, 65; Eliot and, 69–70, 87; Joyce and, 34–35, 62, 87, 237; and modernist reconceptualization of pleasure, 3, 5–6, 10, 19–25; Poirier on, 6; and Puritan reading habits, 13; Stein and, 64–65, 67, 70, 71, 88 (see also tickling); Wallace and, 242. See also difficulty; pleasure, cognitive
À Rebours (Huysman), 39–40
Red-Headed Woman (film), 225
repetition, 12, 24, 30, 103–5, 165; Deleuze and, 171–172; Freud and, 171; Hamilton and, 165–166, 170–172, 182–183; Hull and, 95; Lawrence and, 90, 104–5, 121, 123, 128, 264n32; Rhys and, 164–166, 202, 273n37; Stein and, 26, 66, 69, 71, 74, 79–81, 258n19, 260n63; and typists, 225
Rhys, Jean, 25, 31, 162–166, 187–207; After Leaving Mr. Mackenzie, 165, 194; and alcohol/intoxication, 165, 172–173, 194; background of, 191, 275n53; Black Exercise Book, 200–203, 274n50; characters’ self-defeating decisions, 187, 206; and childhood trauma (Mr. Howard story), 200–204, 273n37, 274n52, 275n52; and cinema, 165, 192–199, 240; and distinction, 163–165, 172, 188, 192, 197; and dysphoria, 163–164; favorite books, 202–3, 275n54; favorite perfume, 37; “film mind,” 200–203; “Good-bye Marcus, Good-bye Rose,” 275n52; Good Morning, Midnight (see Good Morning, Midnight); humor and irony, 189–190, 205–6, 273n38; and masochism/sadomasochism, 172, 200, 202, 273n37; and prostitution/sexuality, 165, 198, 200–203, 274n47; Smile Please, 203, 275n54; and unpleasure, 163–164, 189, 205–6; and vernacular culture, 165, 172, 188, 189, 191–192; Voyage in the Dark, 187, 192, 194–198; Wide Sargasso Sea, 195
Saints and Singing (Stein), 75
The Sands of Pleasure (Young), 275n54
The School of Acting (film), 215
secretaries. See typists
Secret History (Procopius), 198
Secrets of Nature (Field and Smith), 153–154
senses: and new technologies, 27, 265n3, 267n18; ranking of, 35, 36, 251n9. See also “feelies”; olfaction; pleasure, somatic; tactility and sense of touch
sensual pleasure. See pleasure, somatic
sexuality and eroticism, 12, 23, 24, 77, 109, 247n38; anal sex, 124–128; and desert romance genre, 91–111; female sexuality and the cinema, 198–199, 223; Glyn’s Three Weeks, 143–146; Hamilton and, 173–174; Hull and, 30 (see also The Sheik); Huxley and, 136–137, 142 (see also Brave New World); Intolerance (film) and, 223; Joyce and, 43–44, 61–62; Lawrence and, 15, 30, 90, 118–119, 121, 127–129 (see also Lady Chatterley’s Lover; Lawrence, D. H.); and olfaction, 36, 41–44, 46–47, 52, 54–55, 254n44; and race, 147–149, 250n82; Rhys and, 198, 199, 200–203, 274n47; sexual revolution of the 1960s and 70s, 238; Stein and, 65, 76; and tickling, 76, 77; and unpleasure, 23–24. See also desire; masochism; pornography
“Sex Versus Loveliness” (Lawrence), 106–7
The Sheik (Hull), 30, 90, 93–99, 147–148; critical reviews of The Sheik and other popular fiction of the 1920s, 99–104; and female sexual tourism, 99–102; film version, 93, 103, 106–7, 143, 230, 262n12, 264n34; frisson of alterity and polarity, 98; Lawrence and, 106–119, 124; marriage denouement, 98–99; plot, 93–98; and pornography, 109–110; and racial stereotypes, 98–99, 147
The Siege of Pleasure (Hamilton), 162, 170, 171, 272n29. See also Twenty Thousand Streets Under the Sky
silent cinema, 32, 143, 148, 168, 194, 269n52; Huxley and, 132–133, 136, 139, 234–235, 266n4; Loos’s title writing, 211–212, 214–224, 227–229. See also specific films
Singin’ in the Rain (film), 159
Slaves of Solitude (Hamilton), 162
smell, sense of. See olfaction; perfume
The Social Secretary (film), 225
Stein, Gertrude, 63–88, 258nn19,22,27, 260n58, 261n72; and audience, 82, 84–87, 259n31; The Autobiography of Alice B. Toklas, 66; automatic writing, 79, 87; demanding nature of reading experience, 64–65, 67, 70, 71, 88; Everybody’s Autobiography, 73; and excitement, 80–82, 87; and frustration, 76, 88; and game playing, 84–85; Geography and Plays, 80; “Gertrude’s Paris” festival, 237; hermeticism and indeterminacy, 29–30, 65; How to Write, 82, 84, 258n27; and irritation, 80–81; James and, 63–64; Lawrence and, 105, 264n31; lectures, 73, 83–86; Lectures in America, 82; A Long Gay Book, 75; Loos and, 212, 232; The Making of Americans, 63, 66, 67, 70, 75, 80; Matisse Picasso and Gertrude Stein (Stein), 81, 87; Narration, 82, 84, 85; and pedagogical nature of modernism, 26, 82–83, 88; as populist and accessible, 83–84; readers’ differing responses to, 29, 64–67, 87; and repetition, 26, 66, 69, 71, 74, 79–81, 258n19, 260n63; Saints and Singing, 75; Tender Buttons, 67, 71–74, 76, 84, 86, 87, 258n22; Three Lives, 66, 67, 70; and tickling model of pleasure, 29–30, 66–67, 74–83, 87–88; use of language, 65, 67–75, 80–82, 84, 257n12, 259n33
stenographers. See typists
Still Life with Chair Caning (Picasso), 232
Strong Poison (Sayers), 272n23
Studies in the Psychology of Sex (Krafft-Ebing and Ellis), 36, 55, 75
“Surgery for the Novel—or a Bomb” (Lawrence), 105–6
tactility and sense of touch, 35, 44, 68, 74–75, 77, 81–82, 135, 151, 177, 201, 251n10, 260n65. See also “feelies”; tickling
talkies/sound film, 27–28, 31, 130–143, 147–148, 151, 154, 156, 159–160, 168, 211, 234, 265n3, 266n4, 267n18, 267nn16,18, 269n52. See also cinema
technology, 22, 28, 78–79, 87, 101, 132–133, 150, 239, 243, 260n58. See also cinema; gramophone; Internet; radio; television
tension and modernism, 5–6, 57, 171, 177, 181, 188; and jouissance, 176; Lawrence and, 113, 123–125; and masochism, 171, 182; and modern art, 242, 250n69; pleasure through lessening of tension (Freud and Plato’s conception), 8, 24, 165, 171, 206; and sexuality, 24, 113, 123–125, 247n38; and unpleasure, 6, 24, 181–182, 188, 206–7. See also pleasure, cognitive; reading as a challenging experience
“The Moving Pictures of Blinkville” (Loos), 219
“The Woman Who Rode Away” (Lawrence), 111–113, 125
Three Essays on the Theory of Sexuality (Freud), 36, 77, 171
Three Fingered Kate (film series), 194–197
Three Lives (Stein), 66, 67, 70
tickling: Aristotle and, 76; Darwin and, 76–77; Ellis and, 75, 76; experiments on (Harris and Christenfeld), 78–79, 87–88; Freud and, 77, 259n42; fusion of pleasure with irritation, intimacy, and estrangement, 66–67; Hall and, 77–78; and intermittency, 79–82; James and, 64; Joyce and, 76; knismesis and gargalesis, 78; Phillips and, 81; scientific/psychological views of, 75–79, 82; and sexuality, 76, 77; and social context, 78–79; Socrates and, 75; Stein and, 29–30, 66–67, 74–83; Stein on, 75, 82. See also tactility and sense of touch
Time and Western Man (Lewis), 77
Traffic in Souls (film), 149
Twenty Thousand Streets Under the Sky (Hamilton), 162, 166–184; and alcohol/intoxication, 173; and candy (Turkish Delight), 175–177; characters’ self-defeating decisions and denial of agency, 180–183; and cinema, 176–180; critical reviews, 166; and prostitution/sexuality, 173–174; themes, plots, and characters, 168–170, 180–181; and tragedy, 183–184
Ulysses (Joyce), 5, 45–62, 210, 214, 221–222, 232, 236–237, 255nn59,62; difficulty of reading, 21, 62, 237; irony of censorship of, 62; “Nausicca,” 47–53; and olfaction/perfume, 34–35, 44–62, 251n5, 256nn73,74; and pedagogical nature of modernism, 26, 62; and popular women’s fiction, 101, 104–5; Rhys and, 275n56; and Sweets of Sin, 29, 57–62, 256nn78,81; and unpleasure, 34, 49–53, 57, 62
unpleasure, 6–7, 12, 14, 19–25, 163–165, 238, 244; Freud and, 23–24, 171, 183–184, 250n72; James and, 64; Joyce and, 34, 49–53, 56, 57, 62; and olfaction, 34, 49–53, 56; paradoxical attraction of unpleasant experiences, 23; and tragedy, 183–184; and “ugly feelings,” 164–165; and winning of distinction through impasse of pleasure, 163–165, 171–172, 181–183. See also Hamilton, Patrick; Huxley, Aldous; masochism; reading as a challenging experience; Rhys, Jean; Stein, Gertrude; tickling
Varieties of Religious Experience (James), 64
vernacular culture, 12–19, 21; choice of term, 248n44; critical reviews of The Sheik and other popular fiction of the 1920s, 99–104; Hamilton and, 163, 165, 168, 172, 192; Huxley and, 132–134, 141, 148–149; Joyce and, 34; Leavis (Q. D.) and, 212; Loos and, 212, 213; and modern art, 249n68; novel forms of (see cinema; gramophone; radio); Orwell and, 157; and postmodernism, 242; relationship between modernism and mass culture, 12–19, 226; Rhys and, 163, 165, 172, 188, 191–192. See also cinema; mass culture; novels, popular
Virtuous Vamp (film), 225
war, 24, 26–27, 31, 94, 111, 114, 119, 121, 127, 163, 189, 236
White Slave Traffic (film), 149
Wide Sargasso Sea (Rhys), 195
women: associated with pleasure, 5, 12, 19–20, 28–29, 32, 40, 90, 94, 99, 102, 104, 165, 191–194, 198, 212, 238–239; and interwar gender roles, 2, 27, 94; Joyce and, 46–47, 52; Loos and, 212–213, 222–223, 226–227, 233–234; and masochism, 273n37; Rhys and, 162, 165, 188–189, 192–193, 198–199, 203; sexuality and perfume, 41–42, 46–47, 52; sexual tourism, 99–102; typist–cinema connection, 224–229. See also audience; cinema; desert romance genre; perfume; pleasure, somatic; prostitution; sexuality and eroticism
Woolf, Virginia, 4–5, 14, 34, 52, 69–70, 100, 220; and cinema, 132, 133; Glyn and, 144; To the Lighthouse, 5; Mrs. Dalloway, 5, 213; and perfume, 42